Publication: Evocación histórica y flujo temporal en El arca rusa
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2017
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Abstract
El espacio museístico puede convertirse en un idóneo escenario para la recreación y evocación
de hechos históricos. Más aún, si hablamos de museos que tienen un fuerte vínculo con el país
que los alberga.
El cine se hace eco de esta relación y muestra de ello es la propuesta que el cineasta Alexandr
Sokurov nos plantea con El arca rusa (Russky Kovcheg, 2002). Un film con el que se acerca a
la historia de Rusia a partir de un espacio museístico. Concretamente, establece un recorrido,
como si de un discurso museológico se tratase, por el Museo del Hermitage. Este está planteado
de manera fantasmagórica, gracias un diplomático francés muerto que deambula por las
salas del Museo y que invita al espectador a descubrir las salas del antiguo Palacio de Invierno
de San Petersburgo.
El arca rusa, al igual que un museo, es un contenedor de restos del pasado, en el que las obras
y los acontecimientos se van sucediendo para reconstruir con un marcado carácter evocador la
historia de Rusia. De este modo, los personajes van apareciendo sobre una escenografía museal
que pretende llevar la mirada del espectador hacia un tiempo pretérito concreto.
Partiendo de estos planteamientos, para esta comunicación proponemos un estudio analítico
del uso que se le ha dado a las escenografías en El arca rusa, a su ambientación, con el fin de
crear una visión de la historia de Rusia.
The museum space can be transformed into an ideal setting for the reconstruction and evocation of historical events. Moreover, if we talle about museums that have a strong link with the country that hosts them since. Cinema echoes this relationship as it can be seen in the proposal made by the filmmaker Alexander Sokurov who presents us Russian Ark (Russky Kovcheg, 2002). A film through which Sukurov approaches the Russian History from a museum. Particularly, it establishes a tour, as it were a museological discourse, along the Hermitage Museum. This tour is set out phantasmagorically, thanks to the presence of a long dead French diplomar that wanders the Museum's rooms and who invites the viewer to discover the rooms of the old Winter Palace of San Petersburg. Russian Ark, like a museum, contains the rests of the past, in which the artworks and the events happen in order to reconstruct with a distinctive evocative character the Russian History. Thus, the characters appear into a museological scenography that pretends to guide the spectator's vision to a particular past time. Based on these premises, we propose for this communication an analytical study of the use given to the stenographies in Russian Ark, to its setting, in order to create a vision of the Russían History.
The museum space can be transformed into an ideal setting for the reconstruction and evocation of historical events. Moreover, if we talle about museums that have a strong link with the country that hosts them since. Cinema echoes this relationship as it can be seen in the proposal made by the filmmaker Alexander Sokurov who presents us Russian Ark (Russky Kovcheg, 2002). A film through which Sukurov approaches the Russian History from a museum. Particularly, it establishes a tour, as it were a museological discourse, along the Hermitage Museum. This tour is set out phantasmagorically, thanks to the presence of a long dead French diplomar that wanders the Museum's rooms and who invites the viewer to discover the rooms of the old Winter Palace of San Petersburg. Russian Ark, like a museum, contains the rests of the past, in which the artworks and the events happen in order to reconstruct with a distinctive evocative character the Russian History. Thus, the characters appear into a museological scenography that pretends to guide the spectator's vision to a particular past time. Based on these premises, we propose for this communication an analytical study of the use given to the stenographies in Russian Ark, to its setting, in order to create a vision of the Russían History.
Description
Actas del V Congreso Internacional de Historia y Cine celebrado en la Universidad Carlos III de Madrid del 5 al 7 de Septiembre de 2016.
Keywords
Cine, Cine histórico, Memoria, Historia, Museo, Evocación, Memory, History, Museum, Evocation, Cinema
Bibliographic citation
V Congreso Internacional de Historia y Cine: Escenarios del cine histórico (V, 2016, Getafe). Gloria Camarero Gómez, Francesc Sánchez Barba (eds.). Getafe: Universidad Carlos III de Madrid, Instituto de Cultura y Tecnología, 2017, pp. 1039-1055