Open AccessThe Georgian period of the filmmaker Otar Ioseliani
Author(s) -
Zviad Dolidze,
AUTHOR_ID
Publication year - 2021
Publication title -
arta
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.106
H-Index - 1
eISSN - 2537-6136
pISSN - 2345-1181
DOI - 10.52603/arta.2021.30-2.11
Subject(s) - georgian , film director , period (music) , ideology , bachelor , realism , style (visual arts) , aesthetics , art , art history , history , visual arts , politics , political science , movie theater , law , philosophy , linguistics
The creation of the film director Otar Ioseliani has a significant role in the evolution of Georgian cinematographic art. Since the 1950s, Ioseliani had been active in RSS Georgia, and since the 1980s, thanks to ideological circumstances, he continued his work as a filmmaker in France. Ioseliani imposed himself through a special style in the detection and cinematic expression of the negative parts of everyday life. That is why most of his films were not accepted by Soviet film critics, acclaiming them as negative works that did not fit the Soviet reality and lifestyle. Those works corresponded more to the conditions of critical realism than to socialist realism - the dogma of the totalitarian regime. As arguments for these ideas will serve the analysis (thematic, ideational background, cinematic expression, etc.) of Otar Ioseliani’s films from the Georgian period, starting with the bachelor’s thesis Watercolor (1958) and continuing with the films that became known to the general public: November, The Last Leaf, Pastoral, Once Upon a Time there was a Blackbird.