The Russian slang term hardcore
cinematic
&chachek;ernuxa are: (1) indiscriminate and ostentatious rejection of
ideals; (2) no possibility for redemption, which signifies an
essential philosophical fatalism; and (3) subordination of the verbal
signifier (dialogue, voice-over, song lyrics) to the visual (or
non-verbal auditory) image. Physicality is of central
importance. Peter Brooks's description of melodrama as an artistic
mode
is a useful category for film &chachek;ernuxa, as
well. Brooks analyzes melodrama as a form of artistic excess that
arose transgenerically in response to a perceived social and
ethical upheaval.
If melodrama is defined by a compensatory
excess of emotional expressionism, by ever more concentrated
and totally expressive gestures and statements,
then
&chachek;ernuxa is a form of naturalistic melodrama in which
exaggerated emotionality is supplanted by concentrated
physicality.
Many commentators (A. Plaxov, T. Xlopjankina, I. Lux&shachek;in, et
al.) observed that the &chachek;ernuxa aesthetic
had
become by 1989 the dominant one in Soviet film. Although by 1992 many
were announcing the end of the trend's dominance and the rise of the
genre film (in response to the demands of the nascent market),
&chachek;ernuxa remains a topic of discussion in Russian film
circles. At the 1997 Moscow Film Festival, for example, the journal
My paper examines the significance of &chachek;ernuxa in Russian
films and film discourse from the early days of perestrojka (1986) to
the present. My main questions: How has the polemic over the trend
been reflected artistically, i.e., within films themselves? What is
cinematic anti-&chachek;ernuxa? How has the debate over
&chachek;ernuxa's origins and effects changed as the Russian film
industry and Russian culture in general have evolved? What are its
implications for film as a medium for the expression of cultural
values? What is its place in the still largely amorphous generic
taxonomy of post-Soviet cinema? The divisive issue of &chachek;ernuxa
in film is symptomatic of a larger, culture-wide crisis of
representation. In a society in which the tradition of
realism
is so deep, how do cultural producers fulfill
the task of depicting Russian reality,
with its myriad
problems, without resorting to &chachek;ernuxa? My analysis draws on
the strategies and premises of Cultural Studies, especially that
appoach's equal attention to intrinsic and extrinsic aspects of
cultural texts and its sensitivity to the politics and economics of
cultural production.
After a brief look at &chachek;ernuxa's cinematic and non-cinematic
textual provenance, I shall discuss several perestrojka and
post-Soviet films in varying degrees of detail. Films employing
&chachek;ernuxa imagery (some of which were singled out and attacked
for doing so) include: Ol&soft;ga Naruckaja's anti-&chachek;ernuxa
):
Kri&shachek;tofovi&chachek;'s