Sergei Paradzhanov’s magic (sur)realism

1. Sergei Paradzhanov’s magic (sur)realism Artist’s creative freedom before the liberation of arts

2. Sergei Paradzhanov (1924-1990) “Everyone knows I have three motherlands. I was born in Georgia, worked in Ukraine, and am going to die in Armenia.”

3. Paradzhanov • Born in Tbilisi, studied to be film director in Moscow. Made 6 films in Kiev. • Friend of Tarkovsky; mutual influence. • His unique style is the opposite of socialist, or any straightforward, realism. Metaphoric visions. International community of filmmakers labelled P. a “magician.”

4. The fate of a non-conformist • Active as a non-conformist artist. Signed numerous letters to the authorities calling for liberating arts and artists. • In 1974 arrested and condemned on a (false) accusation of gay rape. Spent 4 years in a labour camp and a year in prison. While in prison, became a visual artist (drawings, installations, designs). • The biggest world names (Fellini, Bertolucci, Tarkovsky, Aragon, Updike, etc.) demanded his release. • Regained freedom in 1979, but was not allowed to work. Later, in 1982, was briefly imprisoned for black-marketing (the case fabricated in Moscow). • Resumed filmmaking in 1988, only 2 years before death and after a 15-year break.

5. Designs and Installationsby Paradzhanov

6. “A self-portrait in Istanbul” (photo; colour felt-tip pens)

7. Paradzhanov “flying” in Tbilisi

9. A monument in Tbilisi

10. Sayat Nova, 1968 (renamed as TheColor of Pomegranates) • Non-realist. Non-narrative. Metaphoric. Emphasis on the spiritual, non-material. • National in spirit (Sayat Nova - 18th century poet and musician, ashug. The symbol of Armenian culture and identity, though wrote also in Georgian, Azeri and Farsi). • The film was confiscated, banned for “nationalism” and “surrealism.” • Heavily re-edited, released in 1972 but not shown to the general public (which wouldn’t, ironically, be interested in it). • Considered a masterpiece by fellow-filmmakers worldwide.

11. Actress Sofico Chiaurelistars in six roles in the film

12. The “We are searching for ourselves in each other” episode • Cross-dressing: woman playing both the poet and his beloved. • Duality of human nature; “his” and “hers” clothes made of the same material. • Realized metaphor: poetry as lace; • Fates intertwined.

13. Features and techniques • “Author’s cinema”: Paradzhanov’s own script, directing, costumes, choreography, scenography. • Static camera: no camera movement. • Flat space, as in paintings or on book pages (inspiration: icons, frescoes, illuminated miniatures). • Almost static shots: frontal postures; slow, often repetitive movements; tableaux vivants.

14. Colour • “The dramaturgy of colour”: chromatic, but the use of colour is strictly measured. Colours often used as accents (ex., monks in black robes eat red apples) or symbols (ex., green vine leaves). • Predominant colours: white, black, red, gold, turquoise, and green.

15. The title image

16. “Dramaturgy of colour”:basic symbolic colours

17. “Dramaturgy of colour”

18. “You are fire, your dress is fire”

19. Words and sounds • Not a silent film, but no dialogues. • Characters rarely speak at all. • Music. Sayat Nova’s poetry read aloud off screen. • Written word dominates over the spoken word: images of books; poetry on the intertitles, in books, manuscripts, and on half-burnt sheets (in Armenian). • Sounds often do not match the action.

20. The image of books

22. Half-burnt poetry

23. A poet is born to see thingsfrom his own angle

24. Life, death, love, poetry

25. Metaphoric images

26. Beauty of living and still objects

27. Stills as “installations”

28. Religious imagery: poet and icon

29. Religious imagery: poet as pastor?

30. Visual poetry: “rhyming” images

31. “rhyming” images