ABSTRACT With a focus on Aleksei Fedorchenko’s Angels of Revolution, the article examines the director’s authorial style and his approach to established hierarchies of representation, specifically folklore, twentieth-century avant-garde art, and official Soviet ideology. Through a narration that lays bare discursive ruptures, Fedorchenko’s film attempts to document a multiplicity of symbolic formations. The article investigates three features of this ruptured narration: first, the multiplicity of symbolic systems; second, the postmodern author as a formal aspect of the text; and third, the filmmaker’s reflections on art and cinema tools for the (re)production of memory.

中文翻译：

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费多尔琴科《革命天使》中“死后主观性”的意象

摘要 本文以阿列克谢·费多尔琴科的《革命天使》为重点，考察了导演的创作风格和他对既定表现形式（特别是民俗、20 世纪前卫艺术和苏联官方意识形态）的处理方法。费多尔琴科的电影试图通过一个揭露话语断裂的叙述来记录多种象征形式。本文探讨了这种断裂叙述的三个特征：第一，符号系统的多样性；第二，后现代作者作为文本的正式方面；第三，电影制作人对用于（再）生产记忆的艺术和电影工具的反思。