In this paper, I will compare two films about war in Chechnya, that is, the Russian film “Prisoner of the Mountains” (1996) and the Italian film “Chechnya” (2004). I will show how different stylistic choices mirror different views on the Chechen deeds. On the one hand, the Russian film presents the war as an internal never-ending conflict between the Russian and the Chechen people. On the other hand, in the Italian film, Chechnya is an unknown place the characters will never reach. The war and the main character’s death are symbols of the violence of power against the truth, here represented by a journalist. In this paper, I will first provide information about the films, then I will analyse shots, dialogues and music, in order to account for the different meaning conveyed by different semiotic codes.

Кавказский Пленник и Cecenia: Разные взгляды на чеченскую войну

Artoni, Daniele
2015-01-01

Abstract

In this paper, I will compare two films about war in Chechnya, that is, the Russian film “Prisoner of the Mountains” (1996) and the Italian film “Chechnya” (2004). I will show how different stylistic choices mirror different views on the Chechen deeds. On the one hand, the Russian film presents the war as an internal never-ending conflict between the Russian and the Chechen people. On the other hand, in the Italian film, Chechnya is an unknown place the characters will never reach. The war and the main character’s death are symbols of the violence of power against the truth, here represented by a journalist. In this paper, I will first provide information about the films, then I will analyse shots, dialogues and music, in order to account for the different meaning conveyed by different semiotic codes.
2015
9788081271250
Prisoner of the Mountains; film semiotics; Chechnya
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11562/918582
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