By Jane Taubman
Kira Muratova is a revered and unique modern movie director, but her earliest works weren't welcomed once they have been first proven before everything of Brezhnev's "period of stagnation." simply in 1987, in a single of the 1st breaths of perestroika, have been those videos rereleased, sending Muratova from proficient pariah to superstar virtually in a single day. Drawing from interviews with Muratova herself and her neighbors, unpublished scripts and interviews with audiences, Taubman lines the growth of Muratova's occupation, having a look heavily at each one of her movies, together with the 1990 masterpiece Asthenic Syndrome. She additionally surveys serious response to her motion pictures, either in Russia and the West.
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Extra info for Kira Muratova: The Filmmaker's Companion 4 (The Kinofiles Filmmaker's Companions)
The doll and flower motifs combine in the opening shot of Asthenic Syndrome – dried flowers and a broken doll on a rubbish heap. What does Muratova mean by these recurring dolls? In Among the Grey Stones the beautiful porcelain doll was an important element of the original story’s 38 Kira Muratova plot. But, by surrounding her with so many others, Muratova does more than simply contrast the wealth of the judge’s house with the poverty of the underground. She is defamiliarising the very notion of ‘doll’, asking us to look afresh at this symbol of childhood love and innocence as a rigidly lifeless substitute for a human being.
After the three visit the potter’s workshop he stands on the bumper of Misha’s truck and loudly declaims: ‘For contemporary man a plane flying in the sky and a rocket in smoke and flames, tearing itself away from the earth on the screens of thousands of television sets – all this is a familiar sight. ’ To make sure we catch her satiric view of this performance, Muratova places a chicken in the foreground (a rooster would be an even better commentary, but Muratova never overdoes her sight gags).
The visual images that open A Change of Fate represent Maria’s initial version of the event, while the soundtrack presents her second account, following the discovery of the letter. Maria, in a bright red sweater and sequined black harlequin mask, reclines in a chair. ‘And so, awakened by an audacious kiss …’ begins an off-screen female voice, its flat, emotionless tone in sharp contrast to the event she describes. We hear an off-screen, nondiegetic wolf howl. A male voice enters the dialogue. He: You [intimate second person singular] wanted to get my advice about a present.
Kira Muratova: The Filmmaker's Companion 4 (The Kinofiles Filmmaker's Companions) by Jane Taubman