Page 111 - Alternative Europe Eurotrash and Exploitation Cinema Since 1945
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FIGURE 21 Florya from Come and See (1983): a reluctant witness and victim of abject Nazi atrocities

       burning women and children alive in a church, goes far beyond the needs of a typical World War Two
       Soviet  film.  The depiction of gore and  horror is linked  to  the fundamental shift in  the  'unconscious
       implications' of the Russian Idea,  identified so far exclusively with the myth of the unassailable Good.
       The radical aesthetic and thematic change of settings is of special interest here as it suggested a need
       to relieve the collective unconscious of its long-repressed negative contents and restore the balance in
       the representation of the Russian Idea.
          Oleg Kovalov's compilation documentary, Ostrov Myortvykh (Island of the Dead, 1992), is devoted
       to  'Vera  Kholodnaya,  the  Queen  of the  Russian  Screen'.  Kholodnaya was  discovered  by Yevgeni
       Bauer,  the  most  original  director  of Silent  Russian  cinema.  He  gave  her  the  breakthrough  role  in
       Turgenev's Pesn torzhestvuyushchei liubvi (Song of Triumphant Love, 1915).28 Unfortunately, all that is
       left from her substantial creative  record are a handful of films, which  Kovalov inter-cuts with excerpts
       from  amateur  documentaries,  newsreels,  animation  films  like  Wladyslaw  Starewicz's  pioneer  The
       Cameraman's Revenge (1912), and from fiction films like Yakov Protazanov's Aelita (1924) and Sergei
       Eisenstein's Battleship Potemkin (1925).
         Albeit  structured  as  a philosophical  essay  about  the  tragedy of the  Silver Age  generation,  Island
       of the  Dead  reads  as  a  postmodern  thriller  with  explicit  instances  of bodily  horror.  The  unfolding
       atrocities,  least we  forget, were executed with the best intentions and  in  the name of the forthcoming
       Paradise  on  Earth.  Kovalov  foregrounds  the  unique  role  of  arts  and  culture  in  the  attempts  at
       redesigning  the  collective  unconscious  in  accord  with  the  pressing  needs  of the  national  myth  to
       justify the  atrocities.  His  film  highlights  the peculiar  impersonal  nature of Soviet and  Russian horror



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