- Thomas Sideris*
Sergei Parajanov’s filmography, celebrated for its poetic and visual storytelling, stands out for its unconventional use of space. Unlike most filmmakers, Parajanov viewed space not merely as a physical container for characters and actions but as an active component that reflects cultural, psychological, and metaphysical elements of the narrative. His approach to spatial representations in films such as The Color of Pomegranates (1969), Shadows of Forgotten Ancestors (1965), and The Legend of Suram Fortress (1985), demonstrates how spatiality serves as a powerful storytelling tool in expressing complex themes of identity, cultural memory, and the tensions between the past and the present.
1. Symbolic and Metaphysical Space
Parajanov’s use of space often transcends traditional cinematic functions, turning it into a symbolic and metaphysical entity. In The Color of Pomegranates, the spaces are highly stylized and non-naturalistic, reinforcing the film’s dream-like atmosphere. Rather than depicting realistic environments, Parajanov constructs spaces that are laden with symbolic meaning. The film’s visual language uses objects, colors, and the arrangement of physical space to reflect the internal emotional and spiritual world of the protagonist, the Armenian poet Sayat-Nova. For instance, the famous pomegranate image in the film is not only a literal fruit but also an emblem of the character’s search for cultural identity and spiritual transcendence.
The spaces in The Color of Pomegranates are marked by a tension between tradition and innovation. The sets often resemble still-life tableaux or icons, drawing from Armenian religious art, and they do not operate as mere backdrops but become part of the philosophical and emotional undercurrent of the film. The stylized, almost sacred spaces portray a separation between the temporal world and a higher spiritual reality, creating a narrative where spatiality conveys a profound spiritual and cultural search.
2. Historical and Cultural Memory Through Space
Another key feature of Parajanov’s films is how space serves as a repository for historical and cultural memory. In Shadows of Forgotten Ancestors, the rugged Carpathian landscape becomes a character in itself, reflecting both the inner turmoil of the protagonist and the larger cultural heritage of the Ukrainian people. The contrast between the enclosed, intimate spaces of the protagonist’s village and the expansive, untamed wilderness of the mountains represents the tension between societal constraints and individual freedom. Here, the physical space speaks to the characters’ emotional states, where the enclosed space of the village signifies a form of oppression, while the mountains offer a form of liberation, albeit a tragic one.
Similarly, in The Legend of Suram Fortress, Parajanov uses space to engage with Georgia’s historical identity. The fortress, which is physically embedded in the landscape, becomes a metaphor for the perseverance of the Georgian people in the face of external threats. The fortress is not just a building but a cultural landmark that embodies the resilience of a nation, symbolizing both the history and the mythologies that define it.
3. Spatial Dichotomy and the Struggle for Identity
Parajanov’s films also highlight the dichotomy between different kinds of spaces, particularly those representing traditional, oppressive societal norms versus those offering personal or spiritual liberation. In his works, characters often move between confined, culturally defined spaces and vast, mythical landscapes. For example, in The Shadows of Forgotten Ancestors, the protagonist’s life is defined by the enclosed, claustrophobic spaces of his village and the deep connection to the mountains, which offer an escape, albeit with tragic consequences. These contrasting spaces represent the character’s internal conflict and the broader cultural tension between tradition and the desire for change.
Moreover, Parajanov frequently uses space to interrogate the nature of identity itself. His films examine the complex interplay between the self and the “other.” In The Color of Pomegranates, the representation of space is deeply tied to the identity of the Armenian people, reflecting not only personal struggle but also the collective memory of a displaced, persecuted nation. The fragmented spaces, characterized by their absence of linear narrative progression, mirror the fragmented nature of identity itself, which is shaped by the tension between past and present, myth and reality.
4. Spatial Metaphors and Visual Storytelling
Finally, Parajanov’s distinctive visual style reinforces the role of space in his films. His use of space is deeply connected to his rejection of conventional narrative structure and his preference for visual storytelling. Parajanov often frames shots in such a way that the spatial composition becomes a metaphor for the characters’ emotional or spiritual journeys. In The Color of Pomegranates, the film’s carefully crafted visual motifs—such as the iconic framing of objects and figures—serve as metaphors for the protagonist’s struggles with his cultural and artistic identity. The spatial arrangements reflect the emotional resonance of the narrative, turning each shot into a visual poem that adds layers of meaning.
Furthermore, Parajanov’s films often involve the use of architectural space to reflect internal psychological spaces. The rigid and often surreal architecture seen in The Legend of Suram Fortress speaks to the mythical and historic foundations of the Georgian nation, while simultaneously representing the inner world of the characters caught in the struggle between tradition and modernity.
Conclusion
In conclusion, the spatial representations in Sergei Parajanov’s films are more than just physical settings—they are crucial to understanding the emotional, cultural, and philosophical themes of his works. Through his highly stylized, symbolic use of space, Parajanov invites the audience to reconsider the boundaries between interior and exterior, between identity and otherness, between tradition and transformation. His films create a cinematic world where space is not merely a passive backdrop but an active force that shapes the narrative and engages with the deepest layers of human experience. The analysis of Parajanov’s spatial representations offers valuable insights into the intersection of culture, history, and identity in film, underscoring his legacy as a cinematic visionary who transformed the way we understand the relationship between space and storytelling.
Works Cited:
- Sergei Parajanov: The Master of Cinematic Art by James Steffen
- The Cinematic Vision of Sergei Parajanov by Mark Cousins
- The Color of Pomegranates: Sergei Parajanov’s Metaphysical Cinema by Alexander Prokhorov
- Shadows of Forgotten Ancestors: Exploring Ukrainian Identity by William McCauley
- Thomas Sideris is a Human Geographer PhD, MD, Filmmaker, Journalist