The Doppelgänger Motif in the “New Sincerity” Cinema


The article substantiates the doppelgänger motif of in the ‘new sincerity’ cinema and searches into the conceptual diversi fication of this motif in a number of films as well as the ways of representation on the conceptual and narrative levels of using artistic expressive means.

Full Text

 Abstract: The author assumes, that doppelganger motif is repeatedly presented in the “new sincerity” films. In these films, the doppelganger motif reflects the drama of the split personality or the notion of identity. The doppelganger represents an embodiment of the unconscious, and it is also a variation of the Shadow Archetype from Jungian psychology. In «new sincerity» aesthetics the unconscious contains roots of sincerity. aThe doppelganger expresses the protagonist’s willing to determine the identity. The protagonist denies accepting one’s own nature and thus this part of the divided consciousness becomes his doppelganger. The doppelganger motif is used to emphasize the protagonist’s inability to be sincere with oneself and one’s infantilism. The characters are constantly fighting between the contemplation of the hidden features of their own personality and their inert existence. The “new sincerity” cinema is characterized by oscillation between the irony of postmodernist art and sincerity. In the subject matter, the doppelganger motif appears when the protagonist is looking for one’s own reflection and faces a faked doppelganger but then finally meets the true doppelganger. This encounter happens due to the external obstacles. Visually the doppelganger motif is shown when the protagonist talks to one’s reflection in the mirror or to the audience while looking straight into the camera, on the stage of a circus, in a dream. These spaces symbolize the sphere of the unconscious.

The academic novelty of this article consists of consideration of almost unexplored art language in Russian cinema which contains the renovation of the cinema language and considers the conflicts of nowadays.


About the authors

Mariya О Kuznetsova


Author for correspondence.

Post-Graduate student ,VGIK

Russian Federation, Moscow


  1. Злыднева Н.В. Дух символизма. Русское и западноевропейское искусство в контексте эпохи конца XIX - начала ХХ века. - М.: Прогресс-Традиция, 2012. - 696 с.
  2. Косиков Г.К. От структурализма к постструктурализму. - М.: Рудомино, 1998. - 191 с.
  3. Д.А. Пригов. - М. Эпштейн. Попытка не быть идентифицированным, 2004 // URL.: (дата обращения: 01.11.2017).
  4. Сборник «Русская рок-поэзия: текст и контекст. Выпуск 14». Сб. научн. трудов ФГБОУ ВПО «Уральский гос. пед. университет». Екатеринбург, Тверь, 2013. - 387 с.
  5. Шварц Е. Избранное. - М.: Гудьял-Пресс, 1998. - 638 с.
  6. Эпштейн, М.Н. Каталог новых поэзий // URL.: (дата обращения: 05.11.2017).
  7. Beumers В., Lipovetsky М. Performing Violence: Literary and ^eatrical Experiments of New Russian Drama. - Chicago, Intellect, 2009. - 240 p.



Abstract: 125

PDF (Russian): 115


Article Metrics

Metrics Loading ...



  • There are currently no refbacks.

Copyright (c) 2018 Kuznetsova M.О.

This website uses cookies

You consent to our cookies if you continue to use our website.

About Cookies