Ear to the ground. Searching for ourselves in each other

IF 0.2 0 ART Images Pub Date : 2023-10-20 DOI:10.14746/i.2023.34.43.17
Witold Stok
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 An acclaimed Polish cinematographer and documentary film director describes his meeting with Sergey Paradjanov in the 1970s in Kiev. Stok found himself there in connection with the shooting of Piotr Studziński’s documentary film about one of Ukraine’s mathematicians. Despite the difficulties created by the Soviet totalitarian state to isolate Paradjanov, Stok managed to reach the director and also to watch his documentary film about the frescoes in Kiev at a special secret club screening. In his essay – a memoir – the author describes the differences between life in the Soviet Union and in more liberal Communist-ruled Poland. He characterizes Paradjanov’s artistic profile and his fate in the Soviet Union.
 
 
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Abstract

An acclaimed Polish cinematographer and documentary film director describes his meeting with Sergey Paradjanov in the 1970s in Kiev. Stok found himself there in connection with the shooting of Piotr Studziński’s documentary film about one of Ukraine’s mathematicians. Despite the difficulties created by the Soviet totalitarian state to isolate Paradjanov, Stok managed to reach the director and also to watch his documentary film about the frescoes in Kiev at a special secret club screening. In his essay – a memoir – the author describes the differences between life in the Soviet Union and in more liberal Communist-ruled Poland. He characterizes Paradjanov’s artistic profile and his fate in the Soviet Union.
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注意地面。在彼此身上寻找自我
& # x0D;& # x0D;& # x0D;一位广受赞誉的波兰摄影师和纪录片导演描述了他在20世纪70年代在基辅与谢尔盖·帕拉贾诺夫的会面。斯托克发现自己在那里与拍摄彼得·Studziński关于乌克兰数学家之一的纪录片有关。尽管苏联极权主义国家很难孤立帕拉贾诺夫,斯托克还是设法找到了这位导演,并在一个特别的秘密俱乐部放映会上观看了他关于基辅壁画的纪录片。在他的回忆录文章中,作者描述了苏联和更自由的共产党统治下的波兰生活的不同之处。他描述了帕拉贾诺夫的艺术形象和他在苏联的命运。& # x0D;& # x0D;
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来源期刊
Images
Images ART-
CiteScore
0.10
自引率
0.00%
发文量
11
期刊介绍: The study of Jewish art and visual culture, which has been cultivated for over a century in European, American and Israeli institutions, has burgeoned in the last fifteen years. Major universities have established graduate programs that integrate Jewish art and visual studies and Jewish museums dot the landscape in Israel, Europe and North America. Contemporary scholarship on Jewish art and visual culture intersects with concerns of the wider academy; a lively interchange among scholars has ensued. The field has now achieved the breadth and maturity to sustain an international journal that represents the interests of this interdisciplinary community of scholars.
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