Vadim Abdrashitov’s Realism: Social Realism or Surrealism?
A joint project of the Stanislavsky Electrotheatre and the Contemporary Art Bachelor’s program at the Higher School of Economics
Vadim Abdrashitov’s films are well known to Russians and are often interpreted as social dramas of a bygone Soviet era. However, if you look closely, Abdrashitov's cinematic world turns out to be much broader than its social and temporal boundaries that a viewer perceives by way of visual images and emotional impact.
The films directed by Vadim Abdrashitov to screenwriter Alexander Mindadze’s scripts are always built on "strange" cases, actually on an extract from the case. Is there a consistency in this and how do we express the social function of Abdrashitov's films? Can we now interpret Abdrashitov's films as phantasmagorias? (Parade of the Planets, Armavir)? How does the director relate to the performative principle in film?
What is the relationship and mutual influence of Vadim Abdrashitov and Kira Muratova? Is there a connection between Abdrashitov’s cinematic language and Sots-Art?
Karina Karaeva is a curator, art critic, film historian and a teacher at the Contemporary Art Bachelor’s program at the Higher School of Economics.
Vadim Abdrashitov is a film director, a People’s Artist of the Russian Federation, a Professor at the State Institute of Cinema, the artistic director of the ARK-Film studio at Mosfilm. He is the laureate of numerous Russian and international awards.
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