Some landmarks of the urban environment are inaccessible because of their size and geographic position (the Yuri Dolgorukij monument), some are available to a small amount of and others can be traversed only during residents (Stalin’s Sisters), the day (Moscow metro). But film breaks down these barriers and allows the spectator to see what is hidden in real life. Iconic locations can become nostalgic as they are connected with history and the past of its ‘recollection-objects’ Moscow’s inhabitants. The viewer like a meticulous tourist travels through the city’s unapproachable, most intimate parts, exploring small physical details. The spectator can visit not only the objects of cultural heritage, but also the private and public lived spaces. 4.3 A Site: Inhabited Places Local’s For most Muscovites, much like for the inhabitants of other global cities, iconic locations such as the Red Square play a secondary role. Instead they inhabit and visit diverse public and private spaces like offices, hospitals, cinemas, and apartments. The houses where they dwell can be spacious lofts in central Moscow, or crammed on the outskirts. Sometimes films give a realistic presentation of a worker’s barracks life, sometimes they embody their aspirations. For example, the Muscovite’s episodes with famous skyscrapers in express the desires of the Moscow, I Love You inhabitants, rather than reality. To the majority of Muscovites, Sisters are Stalin’s mythological touristic locations and not home. Some films allow their protagonists and spectators to approach the more and impressive parts of Moscow, such as the city centre. As Mazierska ‘presentable’ and Rascaroli assert, the historical centre has always played an important part in European cities. In postmodern conditions, it becomes a place of fragmentation. The center turns into a cosmopolitan area where more and more immigrants assemble, while the locals tend to move into the suburbs. All this can be said about Moscow. And yet the city centre still remains in focus of most films. In many cases it is a dwelling place of successful businessmen (in well-connected middle class Tycoon), (in or that have inherited family apartments Lovey-Dovey), “native” Muscovites (Valerik). Their apartments might not always be properly renovated, but they still provide the luxury of living in the center.
Some landmarks of the urban environment are inaccessible because of their size and geographic position (the Yuri Dolgorukij monument), some are available to a small amount of residents (Stalin’s Sisters), and others can be traversed only during the day (Moscow metro). But film breaks down these barriers and allows the spectator to see what is hidden in real life. Iconic locations can become nostalgic ‘recollection-objects’ as they are connected with Moscow’s history and the past of its inhabitants. The viewer like a meticulous tourist travels through the city’s unapproachable, most intimate parts, exploring small physical details. The spectator can visit not only the objects of cultural heritage, but also the private and public lived spaces. 4.3 A Local’s Site: Inhabited Places For most Muscovites, much like for the inhabitants of other global cities, iconic locations such as the Red Square play a secondary role. Instead they inhabit and visit diverse public and private spaces like offices, hospitals, cinemas, and apartments. The houses where they dwell can be spacious lofts in central Moscow, or crammed worker’s barracks on the outskirts. Sometimes films give a realistic presentation of a Muscovite’s life, sometimes they embody their aspirations. For example, the episodes with famous skyscrapers in Moscow, I Love You express the desires of the inhabitants, rather than reality. To the majority of Muscovites, Stalin’s Sisters are mythological touristic locations and not home. Some films allow their protagonists and spectators to approach the more ‘presentable’ and impressive parts of Moscow, such as the city centre. As Mazierska and Rascaroli assert, the historical centre has always played an important part in European cities. In postmodern conditions, it becomes a place of fragmentation. The center turns into a cosmopolitan area where more and more immigrants assemble, while the locals tend to move into the suburbs. All this can be said about Moscow. And yet the city centre still remains in focus of most films. In many cases it is a dwelling place of successful businessmen (in Tycoon), well-connected middle class (in Lovey-Dovey), or “native” Muscovites that have inherited family apartments (Valerik). Their apartments might not always be properly renovated, but they still provide the luxury of living in the center.
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