So far in the analysis of characters from the films chosen for this thesis, the characters have been found to possibly reflect the ethical and the aesthetic of Kierkegaardian philosophy. The fourth chapter found reflections of the ethical in the characters of Boris, Alyosha, and Stalin, and in the fifth chapter, possible reflections of Kierkegaard’s aesthetic were observed in the characters of Mark, Hitler, and Vadim. With these examples of the potential of Kierkegaardian analysis, the parts of Kierkegaard’s model of faith that have been discussed so far have proven to be very possible through the films and characters in question. While the ethical and the aesthetic have already been addressed within Soviet film characters and their depictions,
…show more content…
She is then encouraged to give flowers to the other returning soldiers, as that while Boris did not return, others did. As she hands out flowers, while noticeably saddened by the loss of Boris, knowing that she would never see him again, she smiles slightly, with tears in her eyes (Kalatozov 1957).
Veronika’s character seems to an intriguing case for this analysis, and while she could be characterized as the heroine of the film, her presence and situation may call that into question, as Denise J. Youngblood explains. Youngblood states in Russian War Films: On the Cinema Front 1914-2005, that Veronika does not completely qualify as the heroine of the film, as she is too passive throughout the majority of the film, and is more accurately labeled a victim of the War (2007, 119). And while this may be true in this film that depicts the War from the domestic front, Veronika still presents an interesting case as a potential reflection of Kierkegaard’s knight of resignation. The knight of resignation from Kierkegaard’s Fear and Trembling is a person that follows the first movement of faith, the movement of infinite …show more content…
Maria Filatovna, a Red Army sniper during the Civil War between the Whites and the Reds, is placed in charge of guarding Vadim, a captured White Army lieutenant who was smuggling correspondence for the White Army. While they are in the Karakum Desert, Maria and Vadim get rather close, as she recites some her Agitprop poetry to him one night to get his opinion, understanding that he knew literature and poetry well enough to offer an informed opinion. They also end up calling each other by nicknames, as Maria calls him “Blue Eyes”, for his blue eyes, and he calls her “Man Friday”, after a character from Robinson Crusoe. However, they still remained hostile and on guard in each other’s presence. They eventually get shipwrecked on an island on the Aral Sea, leaving just the two of them alive. Maria shows that she was growing closer and was beginning to care for Vadim, as she took care of him when he was suffering from a bad fever. After a while, Maria asks Vadim to tell her the origin of her nickname, and he tells her the story of Robinson Crusoe. She is enraptured by this story, and her fascination for him grew. Eventually, they confessed their love for each other. This love affair was not smooth however, as they disagreed fundamentally on what ideology and how they wanted to live. Vadim was content to go back to the way things were before the revolution, while Maria was devoted to the
She is then encouraged to give flowers to the other returning soldiers, as that while Boris did not return, others did. As she hands out flowers, while noticeably saddened by the loss of Boris, knowing that she would never see him again, she smiles slightly, with tears in her eyes (Kalatozov 1957).
Veronika’s character seems to an intriguing case for this analysis, and while she could be characterized as the heroine of the film, her presence and situation may call that into question, as Denise J. Youngblood explains. Youngblood states in Russian War Films: On the Cinema Front 1914-2005, that Veronika does not completely qualify as the heroine of the film, as she is too passive throughout the majority of the film, and is more accurately labeled a victim of the War (2007, 119). And while this may be true in this film that depicts the War from the domestic front, Veronika still presents an interesting case as a potential reflection of Kierkegaard’s knight of resignation. The knight of resignation from Kierkegaard’s Fear and Trembling is a person that follows the first movement of faith, the movement of infinite …show more content…
Maria Filatovna, a Red Army sniper during the Civil War between the Whites and the Reds, is placed in charge of guarding Vadim, a captured White Army lieutenant who was smuggling correspondence for the White Army. While they are in the Karakum Desert, Maria and Vadim get rather close, as she recites some her Agitprop poetry to him one night to get his opinion, understanding that he knew literature and poetry well enough to offer an informed opinion. They also end up calling each other by nicknames, as Maria calls him “Blue Eyes”, for his blue eyes, and he calls her “Man Friday”, after a character from Robinson Crusoe. However, they still remained hostile and on guard in each other’s presence. They eventually get shipwrecked on an island on the Aral Sea, leaving just the two of them alive. Maria shows that she was growing closer and was beginning to care for Vadim, as she took care of him when he was suffering from a bad fever. After a while, Maria asks Vadim to tell her the origin of her nickname, and he tells her the story of Robinson Crusoe. She is enraptured by this story, and her fascination for him grew. Eventually, they confessed their love for each other. This love affair was not smooth however, as they disagreed fundamentally on what ideology and how they wanted to live. Vadim was content to go back to the way things were before the revolution, while Maria was devoted to the