Mikhalkov: cinema e ideologia frente ao desmoronamento soviético
Anna, a Russian film directed by Nikita Mikhalkov, released in 1993 and shot over more than a decade under the effectuation of Glasnost and Perestroika policies, portrays in its shape and content the political landscape that was drawn in the Socialist Bloc during the transition from the 80’s to the...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | Brasil |
| Institución: | Universidade Tecnológica Federal do Paraná (UTFPR) |
| Repositorio: | Repositório Institucional da UTFPR (da Universidade Tecnológica Federal do Paraná (RIUT)) |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.utfpr.edu.br:1/4422 |
| Acceso en línea: | http://repositorio.utfpr.edu.br/jspui/handle/1/4422 |
| Access Level: | acceso abierto |
| Palabra clave: | Mikhalkov, Nikita - Crítica e interpretação Diretores e produtores de cinema - Rússia - Crítica e interpretação União Soviética - Política e governo Documentário (Cinema) - Rússia Documentário (Cinema) - União Soviética União Soviética - Condições econômicas Glasnost Perestroika Mikhalkov, Nikita - Criticism and interpretation Motion picture producers and directors - Russia - Criticism and interpretation Soviet Union - Politics and government Documentary films - Russia Documentary films - Soviet Union Soviet Union - Economic conditions CNPQ::LINGUISTICA, LETRAS E ARTES Letras |
| Sumario: | Anna, a Russian film directed by Nikita Mikhalkov, released in 1993 and shot over more than a decade under the effectuation of Glasnost and Perestroika policies, portrays in its shape and content the political landscape that was drawn in the Socialist Bloc during the transition from the 80’s to the 90’s, the consequent redirection of economy and the changes in behavioral patterns to a Western-style consumer society effecting the landslide (Hobsbawm) of established structures. Made during this political, economical and cultural transformation era, the film reports contemporary facts but conditions them by the consensus (Benjamin) to the successive regime. The director conducts his young daughter’s interviews in order to present the replacement of the Socialist model as an evolution achieved according to him through a popular struggle against tyranny. This research intends to draft a formal analysis of the film, intrinsically related to the political, cultural and socioeconomic conjuncture in micro and macro scales and to the director’s inclinations, and it aims to present the liberalization and openness phenomenon as an imprisonment in the structures of global capitalism, corporate mercantilism (Chomsky), consensus politics, capitalism as cult and religion (Benjamin) and one-dimensionality of the contemporary human being (Marcuse) ruled by the absence of critical thought, alienation and consume. |
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