상상의 영토화: 현대 러시아 영화의 유라시아주의 기획
Territorialization of Imaginary: On the Planning for Eurasianism in Contemporary Russian Cinema
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From Russian empire and the Soviet Union to the present Russian Federation the historical and cultural task for Russia is how to unite diverse racial and ethnic groups and to establish the firm foundation of sovereignty. Russian cinema which is linked to national projects, in its turn, contributes to create 'the Imaginary construction of a sense of national identity' in various ways. Even going further, from the era of Soviet Union Russian cinema started stepping forward to attempt on integration of Eurasian racial and ethnic groups into single category of 'Sovietness'. In this sense, Vsevolod Pudovkin's film Potomok Chingis-khana (1928) emphasized the socialistic brotherhood between Mongol and Soviet Union along with the Eurasianism which was generated in 1920s. At the same time, Potomok Chingis-khana as a paradigm for the new conventions for reconciling center and periphery would play an important part to justify the imperial tendency of Soviet Union by embracing Mongolian as new socialistic Eurasian hero. Most intriguingly of all, a series of contemporary Russian films propagate the myth of Eurasian heroes who were integrated into Russian cultural field. Thus, Nikita Mikhalkov's film Urga, Territory of Love (1991), Sergei Bodrov's film Kochevnik (2006), Mongol (2007) and Andei Borisov's Secret of Chingis Khan (2009) should be classified as such films which unite across the spatial divide of Europe and Asia according to Neo-Eurasianism by territorialization of myth and ‘imagined community’.
Abstract
From Russian empire and the Soviet Union to the present Russian Federation the historical and cultural task for Russia is how to unite diverse racial and ethnic groups and to establish the firm foundation of sovereignty. Russian cinema which is linked to national projects, in its turn, contributes to create 'the Imaginary construction of a sense of national identity' in various ways. Even going further, from the era of Soviet Union Russian cinema started stepping forward to attempt on integration of Eurasian racial and ethnic groups into single category of 'Sovietness'. In this sense, Vsevolod Pudovkin's film Potomok Chingis-khana (1928) emphasized the socialistic brotherhood between Mongol and Soviet Union along with the Eurasianism which was generated in 1920s. At the same time, Potomok Chingis-khana as a paradigm for the new conventions for reconciling center and periphery would play an important part to justify the imperial tendency of Soviet Union by embracing Mongolian as new socialistic Eurasian hero. Most intriguingly of all, a series of contemporary Russian films propagate the myth of Eurasian heroes who were integrated into Russian cultural field. Thus, Nikita Mikhalkov's film Urga, Territory of Love (1991), Sergei Bodrov's film Kochevnik (2006), Mongol (2007) and Andei Borisov's Secret of Chingis Khan (2009) should be classified as such films which unite across the spatial divide of Europe and Asia according to Neo-Eurasianism by territorialization of myth and ‘imagined community’.
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