The Fragility of Domestic Space within Corruptive NonPlace in Andrei Zviagintsev’s Leviathan

  • Andrew James McGregor
  • Robert John Lagerberg

Abstract

In this article the authors analyse Andrei Zvyagintsev’s feature film Leviathan (2014) from the perspective of domestic space using Marc Augé’s theory of nonplaces. As in Zvyagintsev’s film Elena, the film uses a framing technique, placing the domestic space in question, in this case the site of Nikolai’s house, in the film’s central role. From the outset the house is depicted as somehow fragile and unprotected from the outside world, and, as the plot progresses, this vulnerability increasingly comes into play. The main instigation for the events which follow comes from the town’s corrupt mayor, who plans to purchase Nikolai’s house for a fraction of its true value and build a church on its site. This action brings Nikolai’s former army colleague Dmitry, now a successful Moscow lawyer, into the action, leading directly to infidelity on the part of Nikolai’s wife (Liliya), and, ultimately, her death, presumably at the hands of the corrupt mayor. The external corrupting force of non-place and non-language, seen clearly in scenes such as that at the city court, where the clerk reads the court’s decision at an improbably fast tempo, increasingly enters Nikolai’s home and family situation, and, ultimately, undermines, then destroys, the integrity of private domestic space and the lives and identities of those who inhabit it.

Author Biographies

Andrew James McGregor

PhD, Lecturer in French Studies, School of Languages and Linguistics, University of Melbourne.

Victoria 3010, Melbourne, Australia.

ajmcg@unimelb.edu.au

Robert John Lagerberg

PhD, Senior Lecturer in Russian, School of Languages and Linguistics, University of Melbourne.

Victoria 3010, Melbourne, Australia.

robertjl@unimelb.edu.au

References

Augé, M. (2008). Non-Places: An Introduction to Supermodernity. Ed. 2. L., N. Y., Verso. 98 p.

Bradshaw, Р. (2014). Leviathan Review – a Compellingly Told, Stunningly Shot Drama. In The Guardian [website]. URL: https://www.theguardian.com/film/2014/nov/06/leviathan-review-story-of-job (mode of access: 02.06.2017).

Fedorov, A. (2017). ‘Leviathan and Sunstroke: Opinions of the Russian Film Critics’. In Intern. J. of Media and Information Literacy. No. 1. URL: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=2919224 (mode of access: 25.07.2017).

Kondyuk, D. (2016). ‘Sensing and Longing for God in Andrey Zvyagintsev’s The Return and Leviathan’. In Religions. No. 7. Paper 82. URL: http://www.mdpi.com/2077-1444/7/7/82/htm (mode of access: 25.07.2017).

McGregor, A., Lagerberg, R. (2016). ‘Aspirations of Home in Post-Soviet Russia: Domestic Spaces and National Resonances in Andrey Zvyagintsev’s Elena’. In Quaestio Rossica. Vol. 4. No. 2, pp. 80‒94. DOI 10.15826/qr2016.2.159.

Părău, C. (2016). ‘Through the “Eye of the Machine”: Poetics of the Inhuman in Andrey Zvyagintsev’s films’. In Ekphrasis. No. 1, pp. 129‒138.

Thomassen, B. (2006). Liminality. In Harrington, A., Marshall, B. L., Müller, H.-P. (Eds.). Routledge Encyclopedia of Social Theory. L., Routledge, pp. 322‒323.
Published
2018-06-30
How to Cite
McGregor, A. J., & Lagerberg, R. J. (2018). The Fragility of Domestic Space within Corruptive NonPlace in Andrei Zviagintsev’s Leviathan. Quaestio Rossica, 6(2), 504–515. https://doi.org/10.15826/qr.2018.2.309
Section
Disputatio