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초록·키워드
No other Russian literary author has been so often filmed during his lifetime and after his death, on a scale so global and for a period so extensive, as Lev Tolstoy. When he was still alive, indeed, Tolstoy was filmed as an international celebrity on a number of occasions. Especially, this experience of being filmed helped him to recognize the future potential of the newly born media. As scholars noted already, this is why he allowed cinematographers to film himself on various occasions. Even when he left his home and died at Astapovo station, his funeral was filmed as an international media event in its entirety. Finally, from then on, Tolstoy’s life has been revived or reconstructed through cinematic images for various reasons both at home and abroad.
It is hardly surprising, thus, that Tolstoy occupied an important place in the history of Russian cinema. It is regretful, however, that there has been remarkably little systematic research on how Tolstoy(’s life) was filmed all over the globe. It goes without saying that there has been no attempt to analyse the (most) recent cinematic representations of Tolstoy’s life. For this reason, in this paper I will concentrate on the two films in which the last year(s) of Tolstoy’s life is reconstructed from different points of view. The first is Iakov Protazanov’s The Departure of a Great Old Man (1912) that is characterized by innovative experiments with various art forms in the cinematic representation of Tolstoy’s life in the early years of Russian Cinema. The second is Sergei Gerasimov’s Lev Tolstoy (1984), which is marked, first of all, by its elimination of prophetic status and saintly aura that surrounded Tolstoy during the last years of his lifetime.
It is hardly surprising, thus, that Tolstoy occupied an important place in the history of Russian cinema. It is regretful, however, that there has been remarkably little systematic research on how Tolstoy(’s life) was filmed all over the globe. It goes without saying that there has been no attempt to analyse the (most) recent cinematic representations of Tolstoy’s life. For this reason, in this paper I will concentrate on the two films in which the last year(s) of Tolstoy’s life is reconstructed from different points of view. The first is Iakov Protazanov’s The Departure of a Great Old Man (1912) that is characterized by innovative experiments with various art forms in the cinematic representation of Tolstoy’s life in the early years of Russian Cinema. The second is Sergei Gerasimov’s Lev Tolstoy (1984), which is marked, first of all, by its elimination of prophetic status and saintly aura that surrounded Tolstoy during the last years of his lifetime.
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UCI(KEPA) : I410-ECN-0101-2013-309-000429557
