Biography of Yuri Kuzin

Yuri Kuzin was born on November 17 in the city of Lviv in the family of Russian immigrants from the village of Gavrilovskoye, Sasovsky district, the Ryazan region. Grandfather, Kuzin Stepan Evstafievich, a peasant, father of ten children, died in the year on the fronts of the Great Patriotic War. In the year, he held an international conference on the work of Andrei Tarkovsky in Lviv, where he initiated the creation of “Society A.

Society A. VGIK on the tenth attempt, and twice was excluded from the institute for“ non -payment ”and“ deuce ”, which he did not receive. With the film “Left -handed”, “Der Linkshaander” about Hitler's childhood competed in the year at the Cannes Film Festival with Moloch Alexander Sokurov. Laureate of international awards in the field of cinema. Member of the Union of Cinematographers of the Russian Federation, independent philosopher and theologian.

The network has a deep study of the short film of Yu. Kuzin and the place that the director took, eliminating the mainstream. Here is his fragment.

For all the sympathy, to you at the level of the preference of the socio-cultural paradigm, Yuri,-why are you shy-let's say directly: we are all! And only the cultural lag of Russia in relation to Europe on average over the years over the years is capable of with a truly touching persistence of an underdeveloped child to produce and reproduce such a sluggish provincial-peripheral shoot like Zvyagintsev, Serebrennikov, Loznitsa, etc.

This phenomenon in Russian cinema X is nothing more than unusual, because of its anti-autochthonousness and maximum synthetic, naive I do not want to say "primitivist" so as not to insult Pirosmani, Rousseau for copying of the film art of a high authentic European modernity of the X. This dull current trend during the degradation of the state, the total decomposition of the institutions of management and power and the apogee of the intensification of the vacuum in the creative part of society under the conditions of the resistance of modern nomadology at the level of archaic mass consciousness is capable of for some time, it is possible to bring highly spiritual students from the humanitarian faculties, convincing those who were so convinced of the exclusivity and exclusivity of the exclusivity and The significance of the product they consume under the name "Modern Russian Author's Cinema", but for a sane and adequate person who is familiar with the trends in world culture, art and philosophy, it is obvious that this segment of Russian film products, which passes in the class of "seriousness", "not for all" and other marketing stamps, is a rather sad and absolutely anacronous.

It is possible and should be a decent person to admire Permelezi, and Beethoven, and Maler and, of course, Shostakovich, but to write in the 21st century the symphony in even at one time the extremely vanguard post-Malevian manner of Shostakovich is the absurdity and inadequacy of the artist in the face of modern reality. Martynov - probably, is still adequate, Shtokhausen and Henz - most likely no.

Artyomov - with all its former greatness - alas, too - there is no position of Yuri closer to me, it, of course, shows the fragments of divisive idealistic anthropocentrism, the peak of which fell on the European high renaissance, and - regardless of festivals and all other glamorous requisition forums - "Left -handed" - a really unique film, amazing film, amazing film, amazing film.

First of all, by the fact that he managed to fix through decadence and Bidermaire the cast of nostalgia in the lost image of a high modern, realizing this intercourse in a failure in the most unfavorable time for the emergence of such art, analogy here, perhaps, only with the "crystal" German and some works of the Kosakovsky that period - but this is perhaps all.

That is, having chosen a deliberately losing and dangerous strategy for returning to Art Nouveau during the period of the postmodern with the ensuing positions on the decoration of authorship and the radical cancellation of the fundamental system of the object-Subject, the cousin managed to go out an absolute winner, creating a truly powerful, authentic and grounded cultural tradition of the cultural tradition Here I recall Guld’s replica towards Richter Schubert's performance about the phenomenal ability of the latter to “transfer the bridge to the 19th century”.

How did the author of the Levsha manage to implement this truly fragile and unique project on reincarnation of the topos of pure modern in our time-the issue of meaningless and even naive, since it is precisely this undifference of phenomenological mechanics and the inability to decompose into the constituent parts of the act of pure creativity as a thing that Ding An Sich determines the unconditional wealth and undividedness The artistic integrity of the Kuzin film.

Nevertheless, someone likes it or not, the position of the monitor cousin is non-viable and really tragic in modern reality, it is hopelessly orthogonal of the fundamental morphology of the socio-cultural landscape of the beginning of the 21st century, which is also described by the phenomenon of the absorbing madness not to be confused with a clinical diagnosis, see.

Yes, this is the position of former nobility and humanity see Author: Abel Smith.