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Stalinist Cinema and the Production of HistoryMuseum of the Revolution$
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Evgeny Dobrenko

Print publication date: 2008

Print ISBN-13: 9780748634453

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748634453.001.0001

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(Autobio/Bio/Hagio)graphy: Peshkov — Gorky — Donskoi

(Autobio/Bio/Hagio)graphy: Peshkov — Gorky — Donskoi

Chapter:
(p.142) 4. (Autobio/Bio/Hagio)graphy: Peshkov — Gorky — Donskoi
Source:
Stalinist Cinema and the Production of History
Author(s):

Evgeny Dobrenko

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748634453.003.0005

This chapter focuses on the film Gorky Trilogy, directed by Mark Donskoi and based on the autobiography of Maxim Gorky. It suggests that Gorky's creation of a biography of a certain Alyosha Peshkov who really existed, and Donskoi's creation of the film trilogy which transformed the life of the character described by Gorky into a saint's life, compel one to think that the purity of biographical film genres is entirely conventional. The chapter also discusses Grigory Vinokur's view that the author of an autobio/bio/hagiography has to deal with the continually elusive subject of ‘graphy’, which is related both the genre and the object of the representation itself.

Keywords:   Gorky Trilogy, Mark Donskoi, Maxim Gorky, autobiography, Alyosha Peshkov, biographical film, Grigory Vinokur

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