Raoul Eshelman Analyzes Sokurov's 'Russian Ark' as Transition from Postmodernism to Performatism

Raoul Eshelman's 2003 article argues that Alexander Sokurov's film 'The Russian Ark' marks a shift from postmodernism to a new epoch he terms 'performatism.' The film, shot in a single 87-minute take at the Hermitage Museum, uses a hand-held camera to create a unified aesthetic frame. Eshelman contrasts his interpretation with Dragan Kujundzic's poststructuralist reading, emphasizing the film's theist, monist approach that forces viewer identification. He compares Sokurov's technique to Dogma cinematography by Lars von Trier and Thomas Vinterberg, noting similarities in self-imposed limitations. The article discusses the film's treatment of time, contrasting Bergsonian-Deleuzian concepts with Sokurov's spatialized, theist time. Eshelman cites references to Gilles Deleuze, Jacques Derrida, and Walter Benjamin, while analyzing scenes involving figures like Pushkin, Catherine the Great, and Custine. The film's use of sacral representations and its focus on transcendence are highlighted as key departures from postmodern norms. Eshelman concludes that 'The Russian Ark' represents a performative aesthetic that cannot be repeated but points toward future cultural renewal.