著者

相馬 徹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.2, pp.69-82, 2004

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Alexander Sokurov (1951-) is one of the leading film directors in contemporary Russia. His filmography since 1978 to the present (2004) can be divided into three periods, considering 1990 and 1995 as the boundary lines, not only according to the style of his works, but also in terms of the changes of the organic relation between the director and the professional artists of his group. Indeed, the best approach to understand the main characteristics of Sokurov's films since 1995 is to direct our attention to the sound production and the work of his sound director, Sergey Moshkov (1961-). Of course, the expression of subjective feeling or individual spirit of 'I', the author, in Sokurov's films has been materialized by other people who can use technologies freely. Moshkov succeeded best in the representation of Sokurov's 'I', introducing a new technology, Dolby Digital, in the sequence of ' Xoдoки (representative peasant petitioners)' in the film 'Taurus' (2000). Although it was cut by the director from the final version of the film, the sound approach of Moshkov with a new technology brought new possibilities of expression and organic creative relationship into Sokurov's world. That is to say, the unreleased sequence of 'Taurus' is, as it were, a blueprint of the aesthetic achievement in Sokurov's next film, 'Russian Ark' (2002).