kativas (kativas) wrote,
kativas
kativas

Русский финал

Английский художник Тасита Дин (Tacita Dean) в серии The Russian Ending (2001) использовала изображения со старых открыток, которые она находила на европейских блошиных рынках. В серии 20 изображений, каждое из которых со множеством заметок, сделанных от руки. Эти надписи как будто принадлежат режиссеру - инструкции о свете, звуке, движении камеры и другие пояснения к сцене.

Название серии основывается на истории датского кино. В начале 20 века многие датские фильмы снимались с альтернативными концовками: счасливой и трагической. Трагический финал нужен был для успешного проката в России.

К сожалению, об этом историческом факте я не смогла найти упоминаний на русском языке. В Википедии на английском языке в описании датского фильма Atlantis (1913) упоминает: "Blom filmed two endings for the movie—one happy and one tragic. The alternate tragic ending, in which the Doctor dies at the end, was made in particular for the Russian market. It was believed that the Russians had a preference for sad endings"

Tacita Dean ‘Ein Sklave des Kapitals’, 2001© Tacita Dean, courtesy Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris
Ein Sklave des Kapitals (Слуга Капитализма)


Tacita Dean ‘The Sinking of the SS Plympton’, 2001© Tacita Dean, courtesy Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris
The Sinking of the SS Plympton

[Spoiler (click to open)]
Dean’s notes provide historical detail about the incident in the photograph, which she calls ‘the classic Russian Ending’. The shipwreck took place in ‘treacherous waters’ off the ‘Scilly Islands’ where a ‘southwesterly blew her onto the rocks’. Text superimposed on the water immediately in front of the ship provides a mournful litany of the casualties: ‘all hands lost ... all crew lost ... all lost ... lost at sea’.
Additional notes on the print approach the image as the template for Dean’s fictional film scene. The hull of the ship is marked with detailed measurements and the comment that, at over forty feet long, it is ‘quite a prop’. Camera directions encourage a ‘zoom in’ while sound notes call for a choir singing off-screen as the ship goes under. At the bottom of the print are instructions for a sentimental flashback sequence showing the Plympton’s launch, a ‘happy day’ despite the fact that ‘the bottle did not break’.


Tacita Dean ‘The Crimea’, 2001© Tacita Dean, courtesy Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris
The Crimea (Крым)

[Spoiler (click to open)]
The texts superimposed on the photogravure describe the image as ‘a war film’. Camera instructions encourage the viewer to read the image as the ‘final zoom’ in which ‘smoke disappears into air’ and the protagonists are ‘all dead (or dying)’. Acknowledging the influence of previous artistic explorations of devastating wars on former Russian soil, near the bottom of the print Dean notes ‘ref. Dr. Zhivago’, referring to the 1957 novel by Boris Pasternak (1890-1960) and the popular 1965 film adaptation directed by David Lean (1908-91).


Tacita Dean ‘Zur Letzten Ruhe’, 2001© Tacita Dean, courtesy Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris
Zur Letzten Ruhe

[Spoiler (click to open)]
The title of this print translates as ‘the final resting place’ and her subtitle for the work is ‘the (hastened) Russian Ending’. A woman on the left of the image is identified as the widow of the deceased; Dean’s notes tell the audience that ‘she murdered him’. Dean translates an inscription on a banner hanging from the coffin as ‘your grieving wife (we know otherwise)’. Dean highlights the bench in the foreground, describing it is the site of her fictional film’s last scene, a ‘confession/denouement’ in ‘one take’. Notes in the bottom right corner of the print suggest that the story is not over: ‘sequel inevitable ... he must be avenged’.


Tacita Dean ‘Götterdämmerung’, 2001© Tacita Dean, courtesy Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris
Götterdämmerung (Гибель богов)

[Spoiler (click to open)]
Dean’s notes describe her fictional movie as ‘a co-production ... a film about mutual destruction’. This ‘allegory of the First World War’ represents ‘the (shared) Russian Ending’. She describes the image as ‘godforsaken’, ‘a set of hellish bleakness’ with ‘no life’. Her directions include an injunction against sound effects; ‘silence’ being a more appropriate accompaniment to the desolation of the image. The work’s title, which translates as ‘twilight of the gods’, is a reference to the fourth and final part of the operatic epic Der Ring des Nibelungen (1848-74) by Richard Wagner (1813-83).


Tacita Dean ‘Ship of Death’, 2001© Tacita Dean, courtesy Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris
Ship of Death

[Spoiler (click to open)]
Dean’s notations superimposed on the found image emphasise the fiction that the picture is the still from a film. At the top left corner are the words ‘last scene’ and the work’s title. A shrouded figure is highlighted with the legend ‘ferryman’. ‘Slow movement’ suggests a long camera pan across the scene. The bottom right corner includes more allusive references to the image. The water is labeled ‘Styx’ and an arrow pointing off towards the right bearing the words ‘exit’ and ‘Hades’ suggests the ship’s descent to the underworld. The phrases ‘bye bye’, ‘it’s over’, ‘whence they say that no man ever returns’ and ‘end’ reinforce the finality of the ship’s fate.


Tags: кино, открытка, слово, старые фотографии
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