Open AccessThe Peculiarity of the Visual Autofiction of Sergei Parajanov
Author(s) -
Tatev Amiryan
Publication year - 2019
Publication title -
kritika i semiotika
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.1
H-Index - 1
eISSN - 2307-1753
pISSN - 2307-1737
DOI - 10.25205/2307-1737-2019-2-47-63
Subject(s) - fresco , context (archaeology) , art , confession (law) , prism , painting , performative utterance , film director , art history , visual arts , movie theater , literature , history , aesthetics , archaeology , physics , optics
In this article, a number of works by Sergei Parajanov are considered within the context of such type of writing and movement in fiction and arts as autofiction. The objective of this article is to identify various types of autofictionality, common in both Parajanov's feature films (“Shadows of Forgotten Ancestors”, “The Color of Pomegranates”, “Kyiv Frescoes”), and his performative projects, collages, assemblages, scenarios (“The Confession”), the epistolary text corpus, etc. The analysis of Parajanov’s artistic heritage through the prism of visual autofiction contributes to a more precise definition of the place and significance of the filmmaker’s works in the world artistic culture of the second half of the 20th century.