Abstract
Aleksandr Sokurov's first three instalments in his ‘tetralogy of dictators’ are discussed here from the perspective of spatial representation and history. As the Russian film-maker explores the morbid and intimate hours of Hitler, Lenin, and Hirohito (but also of Stalin, Goebbels, and General MacArthur), he creates strikingly ‘disorientated’ spaces, juggling with traditional cinematic grammar. The effect — and. message — offered. through this approach is multi-layered and manifold, and this article investigates how precisely these spaces function in the mise-en-scène and what the implications of this might be.
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