ABSTRACT The historical-revolutionary film Pavel Korchagin (1956) by Aleksandr Alov and Vladimir Naumov is traditionally read in the context of a key trend of the period: the return to the screen of the romanticised ideals of the October Revolution, which (according to the rhetoric of the Thaw) had been distorted in the Stalin era. Thus, the character study of Pavel Korchagin and the process of Soviet myth-making stood in the centre of attention, while other elements, such as the film’s spaces, remained in the margins. This article explores the empty spaces – the abandoned railway and the barrack in the village of Boyarka, whence the hero returns at the film’s end, and are shown as contradictory to the ideology of the early Thaw. In post-war Western cinema, unlike Soviet cinema, the emptiness of dead, ruined spaces is a phenomenon that defines the era. Situating Pavel Korchagin not merely in the Soviet, but also in the Western context, the author examines the film as a unique example for the transitional period between the so-called ‘film famine’ of the late Stalin years and the Thaw in terms of the spatial representation of the myth of the ruin in Soviet cinema.

中文翻译：

---

破灭的神话：Aleksandr Alov 和 Vladimir Naumov 的 Pavel Korchagin (1957) 中的死空间

摘要 亚历山大·阿洛夫 (Aleksandr Alov) 和弗拉基米尔·瑙莫夫 (Vladimir Naumov) 的历史革命电影帕维尔·柯察金 (Pavel Korchagin) (1956) 传统上是在这一时期的一个关键趋势的背景下阅读的：十月革命浪漫化理想的回归屏幕，这（根据解冻的言论）在斯大林时代被扭曲了。因此，帕维尔·柯察金的人物研究和苏联神话的形成过程成为关注的焦点，而其他元素，如电影的空间，则留在边缘。这篇文章探讨了空旷的空间——废弃的铁路和博亚卡村的军营，电影结束时主人公从那里回来，并被显示为与早期解冻的意识形态相矛盾。在战后的西方电影中，与苏联电影不同的是，死者的空虚，被破坏的空间是一种定义时代的现象。将帕维尔·柯察金不仅置于苏联，而且置于西方语境中，作者将这部电影视为斯大林晚期所谓的“电影饥荒”与解冻之间过渡时期的一个独特例子。苏联电影中废墟神话的空间表现。