Abstract Drawing on Brigitte Peucker’s question – “in cinematic experience, what promotes the impression of reality, and when does medium awareness come into play?” – I examine how Sokurov’s family trilogy constitutes a certain oscillation between the immediate and the constructed. The films under discussion connect with the sensual, physical-biological and socio-political reality, while, simultaneously, they emphasize the artificial and stylised. Mother and Son employs distancing painterly images which deemphasise the figures of the characters while it finishes with the extreme close-up exploring the skin as a raw material used to construct image with its varied colours and textures. Father and Son, on the other hand, enters the dialogue with medicine; through the employment of haptic images and medical appropriations, the film focuses on the sensual along with the biological dimension of the body. Set within a clear socio-political context, Alexandra explores the senses which are not readily available in cinema, that is touch and smell, and thus emphasises the trace of the physical presence on screen. This paper demonstrates how Sokurov’s family trilogy situates itself on the intersection of the Bolter and Grusin’s “desire for immediacy” with the mediated and remediated.

中文翻译：

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亚历山大·索库洛夫家庭三部曲中的现实感和媒介意识

摘要借鉴布里吉特·皮克（Brigitte Peucker）的问题–“在电影体验中，什么能促进对现实的印象，以及何时开始发挥媒介意识？” –我研究了Sokurov的家庭三部曲如何构成直系亲属和被构筑者之间的某种振荡。讨论中的电影与感性的，生理性的和社会政治的现实联系在一起，同时，它们也强调了人工的和风格化的。《母亲与儿子》采用遥远的绘画图像，对人物形象的重视程度不高，而最后的特写镜头则是探索皮肤的一种极端特写，以此作为构建具有多种颜色和纹理的图像的原料。另一方面，父子俩则与医学对话。通过使用触觉图像和医疗拨款，这部电影着重于感官以及身体的生物学方面。在清晰的社会政治背景下，Alexandra探索了电影中不易获得的感觉（即触摸和嗅觉），从而强调了屏幕上实际存在的痕迹。本文展示了Sokurov的家庭三部曲如何将自己置于Bolter和Grusin的“对即时性的渴望”与被调解和被调解的交集上。