Anna Karenina in B. Rose and S. Solovyov – The position of Women through the Forms of Film Recording

Filmska umjetnost raspolaže specifičnim sustavom postupaka koji poput književnih omogućuju oblikovanje narativa na specifičan način. Korištenjem raznih oblika filmskog zapisa, odnosno različitih vrsta kadrova, položaja kamere, objektiva, zvukova i sl. moguće je pridati vrijednost određenim predmetima, likovima, njihovim karakteristikama i odnosima. Američki redatelj Bernard Rose i ruski redatelj Sergej Solov’ёv ekranizirali su isti Tolstojev roman Ana Kаrenjina, no svaki je to učinio na sebi svojstven način, razotkrivajući položaj žena u društvu iz drugačijeg aspekta. Primjerice, Roseova Ana prikazana je u prvom redu kao ograničena svojim položajem, zarobljena i uvijek pod nadzorom, dok Solov’ёvljevu karakteriziraju prkos i bijes koji se javljaju kao posljedica njezina položaja. Zadaću prikazivanja tradicije, koju u američkoj adaptaciji ispunjava Levin, u ruskoj uprizoruje Karenjin. Dok je u prvu verziju utkan motiv okvira kao metafore ženine zarobljenosti i ograničenosti u društvu, u drugoj dominira kontrastan motiv klizaljki kao simbola muške potencije i slobode. Drugim riječima, koristeći različite oblike filmskog zapisa, dodajući, izbacujući ili čak mijenjajući dijelove fabule, te dajući prioritete različitim motivima, likovima, pa i karakteristikama u njima, redatelji su stvorili drugačije i time nove narative od kojih svaki na specifičan način obrađuje bezvremenu problematiku ženskog položaja u društvu.Film art has a specific system of procedures that enable the formation of narratives in a particular way, like literary ones. By using various forms of film shooting, i.e. different types of frames, camera positions, lenses, sounds, etc., it is possible to add value to particular objects, characters, characteristics, and relationships. American director Bernard Rose and Russian director Sergei Solovyov screened the same famous Tolstoy’s novel “Anna Karenina”. Still, each did it in their own way, revealing the position of women in society from a different aspect. For example, Rose’s Anna is portrayed primarily as limited by her position, trapped and always under surveillance. At the same time, Solovyov’s Anna is characterized by defiance and anger that arise due to her position. The task of presenting the tradition that Levin fulfils in the American adaptation, Karenin potrays in the Russian version. While the former weaves the motif of the circumstances as a metaphor for a woman’s captivity and limitations in society, the latter is dominated by a contrasting motif of skates as a symbol of male potency and freedom. In other words, using various forms of film making techniques, adding, eliding or even changing parts of the plot, and giving priority to different motifs, characters, and even characteristics in them, the film-makers create different and thus new narratives, each of which deals explicitly with timeless issues of female position in society