Bakhtin in the Russian Ark
This article delves into the depths of Russian Ark by Alexander Sokurov, where the grandeur of the Hermitage transforms itself into a stage for Bakhtin’s theories on chronotope, polyphony, and dialogism—concepts employed to analyze this film, where this inseparable unity of time and space emerges as...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Costa Rica |
| Institución: | Instituto Tecnológico de Costa Rica |
| Repositorio: | Portal de Revistas TEC |
| Idioma: | español |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/7725 |
| Acceso en línea: | https://revistas.tec.ac.cr/index.php/trama/article/view/7725 |
| Access Level: | acceso abierto |
| Palabra clave: | Arca Rusa Sokúrov Bakhtin lenguaje fílmico cronotopo polifonía dialoguismo Russian Ark sokurov bakhtin cinematic language chronotpe polyphony dialogism Arca Russa discurso cinematog´ráfico polifonia dialogismo |
| Sumario: | This article delves into the depths of Russian Ark by Alexander Sokurov, where the grandeur of the Hermitage transforms itself into a stage for Bakhtin’s theories on chronotope, polyphony, and dialogism—concepts employed to analyze this film, where this inseparable unity of time and space emerges as a ‘house of time,’ where present, past, and future intertwine, offering a cyclical narrative in which Russian history is revived in a continuous, living flow. Each room of the museum, each filmed scene, is not merely a backdrop, but a voice resonating with centuries of ideologies and memories, creating a visual polyphony where times and values coexist. |
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