By Emma Widdis
This primary advent to Alexander Medvedkin's filmmaking profession lines his technique of constructing a different model of cinematic satire during the interval of the Soviet progressive test. utilizing unique archival fabric and Medvedkin's writings for his unfinished autobiography, Widdis explores the flicks The Miracle employee, New Moscow and the experimental "film train"--or kinopoezd--as good because the movie Happiness.
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Additional info for Alexander Medvedkin: The Filmmaker's Companion 2 (The KINOfiles Filmmaker's Companions)
In an opulent flower garden, which appears suddenly out of nowhere amidst the otherwise barren landscape. Time The unreality of the film’s landscape means that we are unaware even of seasonal change: Khmyr’s bumper harvest arrives apparently out of the blue into a world in which nature appears largely uniform and – if the recurring dead tree is anything to go by – even infertile (despite the flowers). This absence of time is typical of Medvedkin’s folkloric antecedents. 19 The time of the tale is outside history; it is 42 Alexander Medvedkin premised solely on experience: ‘There is no general concept of time in folklore.
Thus the Donbass miners were drawn into a ‘network’ of labour and production, summoned to participation in a project that had national significance. The Film-Train 33 Although little evidence remains of concrete reactions to screenings, and it is not clear how the films were used by communities after the departure of the train, it is certainly the case that copies of each film made in a given community were left in the hands of local administration. 35 After the Donbass trip, at least seventy films were left in the hands of factories and other administrative bodies.
Cinema, after all, was still a relatively new medium, a ‘magic mirror’, and one that carried a certain mysterious glamour. To see oneself captured within this magic mirror must have been both exciting and disturbing, a process of de-familiarisation that would enable a new kind of awareness of both self and community. For Medvedkin, this process was primarily agitational in purpose, a kind of interpellation, through which the politically unconscious man or woman would be transformed into a Soviet citizen, inscribed into the new symbolic order via the camera.