Труд, отчуждение, искренность: ответ Аки Каурисмяки «посткинематографическому» экрану

Технологос. 2022. № 3. С. 74–84.

Vereshchagina N.

The anthology “To Each His Own Cinema” was created for the 60th Cannes Film Festival Anniversary. It included episodes by contemporary directors dedicated to the present and future of the cinema in the context of digital technologies and post-continuity. Aki Kaurismäki presented the three-minute episode “The Foundry”, which demonstrates the visual, auditory and narrative features of the author's film style in a concentrated manner and also relays Kaurismäki's response to the changes that are taking place in the cinema of the “digital age”. In the episode and in Kaurismäki's works in general, he refers to stories, images (labor, working class, factories, mines, marginalized elements, etc.) and old-style film and shooting techniques which are not that popular. But this is the most interesting thing because it shows Kaurismäki's point of view on the nature of cinema as an activity. In the article, the author shows the analysis of the figures of workers and the images of their actions (images of labor) in connection with Kaurismäki's film style and in the context of the “death of cinema” discourse in the digital age. Reflections are based on the analysis results of two trilogies: Proletarian trilogy – Shadows in Paradise (1986), Ariel (1988), The Match Factory Girl (1990), and Finnish trilogy – Drifting Clouds (1996), The Man Without a Past (2002), Lights in the Dusk (2006).

Keywords: working class, рабочий класс, кинематограф, труд, cinematography, аки каурисмяки, Aki Kaurismäki, Proletarian Trilogy, Finland Trilogy, Пролетарская трилогия, Финская трилогия, кинематографический стиль