Rosenbaum, Jonathan. Cineaste, Summer2002, Vol. 27 Issue 3, p43, 3p, 4bw

This article profiles the late film by director Sergei Paradjanov. Also include personal background and persecutions he experienced under the Soviet era.
It shows the cultural diversity within the self-consciously ethnographic works of Sergei Paradjanov who himself was born into an Armenian family in Tbilisi, the capital of Georgia; which is a cultural and religious melting pot and has grown up with mixture of Balkan culture and Soviet influence. He spoke three languages: Georgian, Armenian, and Azeri, no two of which belong to the same linguistic family. Directly reflecting the background, he has made films in various languages: Ukraine (Shadows of Forgotten Ancestors), Armenia (Sayat Nova), and Georgia (many shorts, and eventually The Legend of Suram Fortress). The auther makes an intersting point here by asserting that “one useful route into the film is Paradjanov's own identification with the legendary poet. Saya Nova, legendary Armenian poet/ musician who, like Paradjanov, born into poor Armenian family with string Christian background, and wrote and sang in different languages, and was banned from practicing his art in Georgia near the end of his life. The opening quotation from Sayat Nova can even be read as the director's disclaimer: "My water is of a very special kind,/Not everyone can drink it./My writing is of a very special kind,/Not everyone can read it./My foundation's made not of sand,/But of solid granite."

This book by Charles Dowsett offeres his deep philological knowledge and insight into the legendary and almost mystical figure, Sayat Nova. It can be safely said that hardly anything was known to western world about this legendary Armenian troubadour Sayat Nova till this study was translated into French, and to English. His multilingual talent, that resembles the one of the subject matter, Sayat Nova allows him to look at the poems by Sayat Nova not only from mere literature point of view but also his multiculturality and internationality. 

In the book, Dowsett reveals the mystified life of Sayat Nova; The author scrupulously points out Sayat Nova’s international identity by nature; born into moderate Armenian family in Georgia, who spoke multiple languages including, Georgian, Armenian, Azeri, Turkish, and Persian, in which he produced his work of poetry and music. (His most famous work move fluently between all four languages.) He was active as court troubadour in Georgia in his early life, but was expelled to Armenia where he joined the local church to continue his practice. It also points out his extraordinary religious perspective and his life as a priest, and, importantly, the ethnic tolerance; he uses Persian vocabrary in many of his poems and appealed to Muslim audiences as well. In some of his poem he displayed his sympathy for Islam. He asserted that he perceived himself as “ bridge between the various Caucasian Peoples. For my own sake of argument, this legendary figure Sayat Nova, and the life of the director Sergei Paradjanov have undeniably much in common starting from their multilingual ability and intercultural identity as well as their broad range of active field.

In an article which was originally published as ”Roots” in the Village Voice in 1994, he has written about the director Sergei Paradjanov’s brief but succinct biography, in which the author describes Paradjanov as one of the most influential visionary from the soviet era.

This book is a collection of essays that reflect the current burgeoning interest in issues of nation, race, gender, sexuality, and other axes of identity. It examines this complex subject matter in various fields but mainly focused in media studies, literal theory, and visual culture.
In “Independent Transitional Film Genre”, the author, Hamid Naficy discusses about what he calls “ transnational “ filmmakers who make films about their homeland from which the directors were exiled and its culture. He defines Transnational Film as films made in exile that expresses multiculturality, multifocality, and syncretism that appeal to the homeland as well as to his host country or elsewhere. 

He rightly points out that those filmmakers are easy target to be labeled with being “ethnic”, “national”, or “ethnographic” for its exoticism, and are unable to reach mainstream audiences in either their country of residence or origin. And once it’s been categorized into a particular “genre”, a convention full of overdetermination and expectation, it would negate any potential, further insightful interpretations that these films demands to be seen as a product of individual authorial vision, contextual policies, and cinematic practice. Therefore Transnational film as genre, and its shared features can only be seen through the means of mass media ranging worldwide, necessitating the formulation of not only one but a series of transnational genre. the author asserts that in fact many filmmaker flourish under internal constraint and deprivation and fail to prosper in their absence. For instance filmmakers in exile often employ autobiography and self-reflexivity as the force to drive the narrative. And the cultural space captured in the film inscribe their maker’s station in life and their location in culture, marking their with with narrative and iconographic hybridities, doublings, splitting.

This book is an overview of the cinemas in crucial transitional period of 1985-1991, which the author call “period of adjustment”, in the late Soviet era, during which glasnost (openness) finally let to substantial cultural and political perestroika headed by Gorbachev. The change in the direction and its attitude in government brought a whole new movement in Soviet cinema. It argues that before perestroika, filmmaking in the country have been devoted itself in a form of propaganda to developing totalitarianism. In return, the cinema became authoritative and centralized despite the divergent nature of the country itself. The culture of movie-going was in jeopardy as the public had less and less interest in such films. 

This book is a product of an exceptionally patient study of Caucasus region mainly Armenia and Azerbaijan and their neighboring countries, such as Russia. It gives deep and compelling account for Nagorno-Karabakh Conflict (1988-1994) which still persist and the suffering of the people from the convoluted aftermath and exacerbation. This book gives you an idea of how complex and intertwined the problem has become through the process of independence at the End of Soviet era that still awaits resolution.

 In this book the author De Waal refers to legendary Armenian Poet Sayat Nova as benign patron for this book for his generous sympathy for other culture and religions, and ethnicity. His poetry as well as Sayat Nova as a historical figure appears in this book many times as symbol of peace and understanding. Sayat Nova, born into a moderate Armenia family in Georgia, served as court troubadour in Georgia, wrote songs in Azeri, Armenian, Georgian, and Persian, was praised for the very diversity of his talent. He is truly the reflection of the sprit of the region today. And same could be said for the director for the film “Syat Nova (Color of Pomegranate) 1968”, Sergei Paradjanov who shares almost the same ethnic and cultural background.