a book by Isa Willinger


Introduction: Kira Muratova's Subversive Films
Muratova's Professional Career | Defining Motifs and Techniques | Composition of the Book

1. Subversion and Physical Film Perception

2. Rites, Gender, Formalism: the Early Films
Muratova - a Feminist Film Director? | Short Encounters (1967) | The Long Farewell (1971) Collage and Wild Semiosis | Getting to Know the Big Wide World (1979) | Alienation and Touching

3. Total Decomposition: The Asthenic Syndrome (1989)
Deconstruction of the Subject | Two-dimensional Images and the Human Face | Visual Attractions and Disorienting Stimuli

4. Corpse in a Suitcase: Deception and Death from A Change of Fate (1987) to Melody for a Street Organ (2009)
Deception Maneuvers | Necropsy | Killing und a Reflection on (film-)images | Grotesque Corpses

5. Performing Personages: Little Passions (1994)
Fetishes: Liliya and Violetta | The Performative Power of the Visual: Judith Butler Revisited | Performativity and Bodies | Signs of an Overwhelming Presence

6. Grotesque Worlds: Three Stories (1997)
Boiler Room No. 6 | Animal and Man | Ophelia | The little Girl and Death

7. Ear Buzzing: Sound-Techniques in Muratova's Films

8. Female Self-Staging and Male Nudes: Gender Aspects in the Later Films

9. "Nobody here knows anything!": Melody for a Street Organ (2009) and Eternal Return (2012)
Deconstruction and Affect | Formalism and Tragedy | Repetition and Rhythm

10. Circus Acts and Eisenstein's Montage of Attractions: Traces of the Russian Film Avant-garde in Muratova's Oeuvre
Eccentrics and FEKS | Spectacle | Eisenstein's Physically Oriented Film Theory | Montage of Attractions in Eisenstein and Muratova

11. Conclusion: Smaller and Larger Jewels


"I Am a Part of Chaos". A conversation with Kira Muratova and Evgeny Golubenko

Muratova's Biography

Annotated Filmography