School of Languages and Linguistics - Research Publications
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ItemFrom Post-Soviet to Post-National: Domestic Space as Non-Place in Andrei Zviagintsev’s 'Elena' and 'Leviathan'(Mustafa Yaşar, 2018)In this article two films directed by Andrei Zviagintsev, Elena (2011) and Leviathan (2014), are compared and contrasted from the point of view of Marc Augé’s concept of place and non-place. Although these two films differ in specific details, similarities exist at several levels which are frequently linked with the theme of domestic space. Both films utilise similar framing techniques which place the respective main domestic spaces at the structural and thematic forefront of each plot. Both films employ a binary locational symmetry: while Elena juxtaposes a Soviet-era apartment with a modern luxury apartment, Leviathan operates with a single domestic space which stands opposed to the world outside and is, ultimately, destroyed by it. In each film the main domestic space is usurped by nefarious and dishonest means, in Elena by the murder of Vladimir by the eponymous heroine who thereafter brings her family to live in the new apartment, and in Leviathan by the scheming mayor who, it is assumed, murders Nikolai’s wife and destroys his house for the purposes of building a new church. The ultimate casualty in both films is moral truth which finds its perfect setting in the modern world of non-place.
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ItemThe Fragility of Domestic Space within Corruptive Non-Place in Andrei Zviagintsev’s "Leviathan"'(Ural Federal University, 2018)In this article the authors analyse Andrei Zvyagintsev’s feature film Leviathan (2014) from the perspective of domestic space using Marc Augé’s theory of nonplaces. As in Zvyagintsev’s film Elena, the film uses a framing technique, placing the domestic space in question, in this case the site of Nikolai’s house, in the film’s central role. From the outset the house is depicted as somehow fragile and unprotected from the outside world, and, as the plot progresses, this vulnerability increasingly comes into play. The main instigation for the events which follow comes from the town’s corrupt mayor, who plans to purchase Nikolai’s house for a fraction of its true value and build a church on its site. This action brings Nikolai’s former army colleague Dmitry, now a successful Moscow lawyer, into the action, leading directly to infidelity on the part of Nikolai’s wife (Liliya), and, ultimately, her death, presumably at the hands of the corrupt mayor. The external corrupting force of non-place and non-language, seen clearly in scenes such as that at the city court, where the clerk reads the court’s decision at an improbably fast tempo, increasingly enters Nikolai’s home and family situation, and, ultimately, undermines, then destroys, the integrity of private domestic space and the lives and identities of those who inhabit it.
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ItemNo Preview AvailableAspirations of Home in Post-Soviet Russia: Domestic Spaces and National Resonances in Andrey Zvyagintsev’s Elena(Ural Federal University, 2016)