Postzależnościowe ujęcie tożsamości zbiorowej Rosjan w filmie Ładunek 200 Aleksieja Bałabanowa

Post-dependent Russian identity in Aleksey Balabanov’s Cargo 200 The aim of this paper is to demonstrate how Alexei Balabanov constructs the image of contemporary Russian collective identity around the idea of the post-dependence on the traumatic Soviet experience in Cargo 200. The director show...

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Autor principal:	Paulina Gorlewska
Formato:	article
Lenguaje:	EN PL
Publicado:	Ksiegarnia Akademicka Publishing 2013
Materias:	trauma collective identity post-dependency postmemory cultural memory Law K Political science J
Acceso en línea:	https://doaj.org/article/d536999e44e540fa8f20fc37eabf1fb8
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spelling	oai:doaj.org-article:d536999e44e540fa8f20fc37eabf1fb82021-11-27T13:17:19ZPostzależnościowe ujęcie tożsamości zbiorowej Rosjan w filmie Ładunek 200 Aleksieja Bałabanowa10.12797/Politeja.10.2013.26.341733-67162391-6737https://doaj.org/article/d536999e44e540fa8f20fc37eabf1fb82013-05-01T00:00:00Zhttps://journals.akademicka.pl/politeja/article/view/3383https://doaj.org/toc/1733-6716https://doaj.org/toc/2391-6737 Post-dependent Russian identity in Aleksey Balabanov’s Cargo 200 The aim of this paper is to demonstrate how Alexei Balabanov constructs the image of contemporary Russian collective identity around the idea of the post-dependence on the traumatic Soviet experience in Cargo 200. The director shows in his movie a post-Soviet society that is paralyzed by traumatic past. The main context of the analysis is “postmemory”, a category introduced by Marianne Hirsch. The idea of postmemory is based on the belief that trauma can be worked-through by the reconstruction of the past events. On the other hand, it underlines the dangerous impact of repressed traumatic memories on the collective identity of the group. Another theoretical and methodological framework is Aleida and Jan Assmann’s concept of communicative and cultural memory, since the director based his film on the cultural traditions and texts widely known in Russian culture (primarily the works of Fyodor Dostoyevsky). Balabanov, by the usage of historical costume, tried to force the Russian audience to work through the trauma of the past. Paulina GorlewskaKsiegarnia Akademicka Publishingarticletraumacollective identitypost-dependencypostmemorycultural memoryLawKPolitical scienceJENPLPoliteja, Vol 10, Iss 4(26) (2013)
institution	DOAJ
collection	DOAJ
language	EN PL
topic	trauma collective identity post-dependency postmemory cultural memory Law K Political science J
spellingShingle	trauma collective identity post-dependency postmemory cultural memory Law K Political science J Paulina Gorlewska Postzależnościowe ujęcie tożsamości zbiorowej Rosjan w filmie Ładunek 200 Aleksieja Bałabanowa
description	Post-dependent Russian identity in Aleksey Balabanov’s Cargo 200 The aim of this paper is to demonstrate how Alexei Balabanov constructs the image of contemporary Russian collective identity around the idea of the post-dependence on the traumatic Soviet experience in Cargo 200. The director shows in his movie a post-Soviet society that is paralyzed by traumatic past. The main context of the analysis is “postmemory”, a category introduced by Marianne Hirsch. The idea of postmemory is based on the belief that trauma can be worked-through by the reconstruction of the past events. On the other hand, it underlines the dangerous impact of repressed traumatic memories on the collective identity of the group. Another theoretical and methodological framework is Aleida and Jan Assmann’s concept of communicative and cultural memory, since the director based his film on the cultural traditions and texts widely known in Russian culture (primarily the works of Fyodor Dostoyevsky). Balabanov, by the usage of historical costume, tried to force the Russian audience to work through the trauma of the past.
format	article
author	Paulina Gorlewska
author_facet	Paulina Gorlewska
author_sort	Paulina Gorlewska
title	Postzależnościowe ujęcie tożsamości zbiorowej Rosjan w filmie Ładunek 200 Aleksieja Bałabanowa
title_short	Postzależnościowe ujęcie tożsamości zbiorowej Rosjan w filmie Ładunek 200 Aleksieja Bałabanowa
title_full	Postzależnościowe ujęcie tożsamości zbiorowej Rosjan w filmie Ładunek 200 Aleksieja Bałabanowa
title_fullStr	Postzależnościowe ujęcie tożsamości zbiorowej Rosjan w filmie Ładunek 200 Aleksieja Bałabanowa
title_full_unstemmed	Postzależnościowe ujęcie tożsamości zbiorowej Rosjan w filmie Ładunek 200 Aleksieja Bałabanowa
title_sort	postzależnościowe ujęcie tożsamości zbiorowej rosjan w filmie ładunek 200 aleksieja bałabanowa
publisher	Ksiegarnia Akademicka Publishing
publishDate	2013
url	https://doaj.org/article/d536999e44e540fa8f20fc37eabf1fb8
work_keys_str_mv	AT paulinagorlewska postzaleznoscioweujecietozsamoscizbiorowejrosjanwfilmieładunek200aleksiejabałabanowa
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Postzależnościowe ujęcie tożsamości zbiorowej Rosjan w filmie Ładunek 200 Aleksieja Bałabanowa

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