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Author: Stephen M. Norris
Publisher: Indiana University Press
ISBN: 025302790X
Category : Performing Arts
Languages : en
Pages : 200
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Book Description
“Examines in a remarkably rich and varied way the construction of otherness and foreignness within this complexly ‘national’ cinema tradition.” —John MacKay, Yale University Identifying who was “inside” and who was “outside” the Soviet/Russian body politic has been a matter of intense and violent urgency, especially in the high Stalinist and post-Soviet periods. It is a theme encountered prominently in film. Employing a range of interpretive methods practiced in Russian/Soviet film studies, Insiders and Outsiders in Russian Cinema highlights the varied ways that Russian and Soviet cinema constructed otherness and foreignness. While the essays explore the “us versus them” binary well known to students of Russian culture and the ways in which Russian films depicted these distinctions, the book demonstrates just how impossible maintaining this binary proved to be. Contributors are Anthony Anemone, Julian Graffy, Peter Kenez, Joan Neuberger, Stephen M. Norris, Oleg Sulkin, Yuri Tsivian, Emma Widdis, and Josephine Woll. “An anthology that is the best I have ever had the pleasure of reading . . . Lucidly written, well researched, persuasively argued, lavishly illustrated, Insiders and Outsiders in Russian Cinema can be read with pleasure and profit by anyone from the general reader interested in Russian culture to the most seasoned Russian film specialist.” —Denise J. Youngblood, University of Vermont, Russian Review “In a word, the theoretical richness and sophistication of this collection parallel the complexity of its topics and serve as an excellent cross-section of how the theme of foreigners and outsiders is examined in contemporary studies in film.” —Slavonic & East European Journal
Author: Stephen M. Norris
Publisher: Indiana University Press
ISBN: 025302790X
Category : Performing Arts
Languages : en
Pages : 200
Get Book Here
Book Description
“Examines in a remarkably rich and varied way the construction of otherness and foreignness within this complexly ‘national’ cinema tradition.” —John MacKay, Yale University Identifying who was “inside” and who was “outside” the Soviet/Russian body politic has been a matter of intense and violent urgency, especially in the high Stalinist and post-Soviet periods. It is a theme encountered prominently in film. Employing a range of interpretive methods practiced in Russian/Soviet film studies, Insiders and Outsiders in Russian Cinema highlights the varied ways that Russian and Soviet cinema constructed otherness and foreignness. While the essays explore the “us versus them” binary well known to students of Russian culture and the ways in which Russian films depicted these distinctions, the book demonstrates just how impossible maintaining this binary proved to be. Contributors are Anthony Anemone, Julian Graffy, Peter Kenez, Joan Neuberger, Stephen M. Norris, Oleg Sulkin, Yuri Tsivian, Emma Widdis, and Josephine Woll. “An anthology that is the best I have ever had the pleasure of reading . . . Lucidly written, well researched, persuasively argued, lavishly illustrated, Insiders and Outsiders in Russian Cinema can be read with pleasure and profit by anyone from the general reader interested in Russian culture to the most seasoned Russian film specialist.” —Denise J. Youngblood, University of Vermont, Russian Review “In a word, the theoretical richness and sophistication of this collection parallel the complexity of its topics and serve as an excellent cross-section of how the theme of foreigners and outsiders is examined in contemporary studies in film.” —Slavonic & East European Journal
Author: Birgit Beumers
Publisher: John Wiley & Sons
ISBN: 1118424700
Category : Performing Arts
Languages : en
Pages : 749
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Book Description
A Companion to Russian Cinema provides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies. The most up-to-date and thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglected
Author: Irina Souch
Publisher: Bloomsbury Publishing USA
ISBN: 1501329049
Category : History
Languages : en
Pages : 247
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Book Description
This book is an exploration of the changes in Russian cultural identity in the twenty years after the fall of the Soviet state. Through close readings of a select number of contemporary Russian films and television series, Irina Souch investigates how a variety of popular cultural tropes ranging from the patriarchal family to the country idyll survived the demise of Communism and maintained their power to inform the Russian people's self-image. She shows how these tropes continue to define attitudes towards political authority, economic disparity, ethnic and cultural difference, generational relations and gender. The author also introduces theories of identity developed in Russia at the same time, enabling these works to act as sites of productive dialogue with the more familiar discourses of Western scholarship.
Author: Joan Neuberger
Publisher: Cornell University Press
ISBN: 1501732781
Category : Performing Arts
Languages : en
Pages : 507
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Book Description
This Thing of Darkness, Joan Neuberger's engrossing production history of Sergei Eisenstein's Ivan the Terrible, is a major contribution to the study of Eisenstein and thus informs the history and theory of cinema and the study of Soviet culture and politics. Neuberger's ability to mine, interpret, and connect Eisenstein's voluminous, intriguingly digressive writings makes this book exceptional.— Karla Oeler, Stanford University Sergei Eisenstein's unfinished masterpiece, Ivan the Terrible, was no ordinary movie. Commissioned by Joseph Stalin in 1941 to justify state terror in the sixteenth century and in the twentieth, the film's politics, style, and epic scope aroused controversy even before it was released. In This Thing of Darkness, Joan Neuberger offers a sweeping account of the conception, making, and reception of Ivan the Terrible that weaves together Eisenstein's expansive thinking and experimental practice with a groundbreaking new view of artistic production under Stalin. Drawing on Eisenstein's unpublished production notebooks, diaries, and manuscripts, Neuberger's riveting narrative chronicles Eisenstein's personal, creative, and political challenges and reveals the ways cinematic invention, artistic theory, political critique, and historical and psychological analysis went hand in hand in this famously complex film. Neuberger's bold arguments and daring insights into every aspect of Eisenstein's work during this period, together with her ability to lucidly connect his wide-ranging late theory with his work on Ivan, show the director exploiting the institutions of Soviet artistic production not only to expose the cruelties of Stalin and his circle but to challenge the fundamental principles of Soviet ideology itself. Ivan the Terrible, she argues, shows us one of the world's greatest filmmakers and one of the 20th century's greatest artists observing the world around him and experimenting with every element of film art to explore the psychology of political ambition, uncover the history of recurring cycles of violence and lay bare the tragedy of absolute power.
Author: Brian James Baer
Publisher: Academic Studies PRess
ISBN:
Category : Art
Languages : en
Pages : 492
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Book Description
While the topic of queer sexuality in imperial Russia and the Soviet Union has been investigated for decades by scholars working in the fields of sociology, history, literary studies, and musicology, it has yet to be studied in any comprehensive or systematic way by those working in the visual arts. Queer(ing) Russian Art: Realism, Revolution, Performance is meant to address this lacuna by providing a platform for new scholarship that connects "Russian" art with queerness in a variety of ways. Situated at the intersection of Visual Studies and Queer Studies and working from different theoretical and disciplinary perspectives, the contributors expose and explore the queer imagery and sensibilities in works of visual art produced in pre-Soviet, Soviet and post-Soviet contexts and beneath the surface of conventional histories of Russian and Soviet art.
Author: Anna Toropova
Publisher:
ISBN: 0198831099
Category : History
Languages : en
Pages : 273
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Book Description
Feeling Revolution explores the important role played by film genres in cultivating the Stalin era's distinctive emotional values and norms -- ranging from happiness to hatred for enemies. Toropova's exploration of a wide variety of primary sources brings to light the Soviet film industry's battle to shape new forms of audience response.
Author: Rachel Morley
Publisher: Bloomsbury Publishing
ISBN: 1786720582
Category : Social Science
Languages : en
Pages : 314
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Book Description
Oriental dancers, ballerinas, actresses and opera singers the figure of the female performer is ubiquitous in the cinema of pre-Revolutionary Russia. From the first feature film, Romashkov's Stenka Razin (1908), through the sophisticated melodramas of the 1910s, to Viskovsky's The Last Tango (1918), made shortly before the pre-Revolutionary film industry was dismantled by the new Soviet government, the female performer remains central. In this groundbreaking new study, Rachel Morley argues that early Russian film-makers used the character of the female performer to explore key contemporary concerns from changing conceptions of femininity and the emergence of the so-called New Woman, to broader questions concerning gender identity. Morley also reveals that the film-makers repeatedly used this archetype of femininity to experiment with cinematic technology and develop a specific cinematic language."
Author: Natalija Majsova
Publisher: Rowman & Littlefield
ISBN: 1793609322
Category : History
Languages : en
Pages : 257
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Book Description
This book interrogates the relations between nostalgias of today and past utopias in the context of the space age of the 20th century and its cinematic representations in the USSR and in post-Soviet Russia. Once an enthusiastic projection, then a promising and uncanny present, and eventually an assemblage of nostalgic signifiers, in the history of world cinema, this space age has been linked primarily to the genre of science fiction. Here, aspects of the space age such as humanity’s imminent expansion to space, interplanetary travel, contact with extraterrestrial intelligence, and intergalactic governance and economy were both celebrated and critically interrogated as cosmopolitan ideals and nation-branding strategies. This book presents the contemporary relevance of this genre as heritage and legacy, archive and canon, and a nest of forgotten ideals and warnings, as well as nostalgic anchoring points. The author analyzes over 30 Soviet science fiction films, foregrounding their structures of utopia and their evolution over time, in order to trace both their transnational positionalities, transmedial resonance, and impact on post-Soviet Russian films about the space age. Concepts, crucial to the understanding of space futures of the past, such as utopianism, otherness, liminality, and no(w)stalgia are activated to draw out the fictional tenants of the memory of the Soviet space age, and to establish the limits and potentialities of Soviet (exra)terraformative ambitions.
Author: Tony Shaw
Publisher: University Press of Kansas
ISBN: 0700620206
Category : Performing Arts
Languages : en
Pages : 312
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Book Description
The Cold War was as much a battle of ideas as a series of military and diplomatic confrontations, and movies were a prime battleground for this cultural combat. As Tony Shaw and Denise Youngblood show, Hollywood sought to export American ideals in movies like Rambo, and the Soviet film industry fought back by showcasing Communist ideals in a positive light, primarily for their own citizens. The two camps traded cinematic blows for more than four decades. The first book-length comparative survey of cinema's vital role in disseminating Cold War ideologies, Shaw and Youngblood's study focuses on ten films—five American and five Soviet—that in both obvious and subtle ways provided a crucial outlet for the global "debate" between democratic and communist ideologies. For each nation, the authors outline industry leaders, structure, audiences, politics, and international reach and explore the varied relationships linking each film industry to its respective government. They then present five comparative case studies, each pairing an American with a Soviet film: Man on a Tightrope with The Meeting on the Elbe; Roman Holiday with Spring on Zarechnaya Street; Fail-Safe with Nine Days in One Year; Bananas with Officers; Rambo: First Blood Part II with Incident at Map Grid 36-80. Shaw breathes new life into familiar American films by Elia Kazan and Woody Allen, while Youngblood helps readers comprehend Soviet films most have never seen. Collectively, their commentaries track the Cold War in its entirety—from its formative phase through periods of thaw and self-doubt to the resurgence of mutual animosity during the Reagan years-and enable readers to identify competing core propaganda themes such as decadence versus morality, technology versus humanity, and freedom versus authority. As the authors show, such themes blurred notions regarding "propaganda" and "entertainment," terms that were often interchangeable and mutually reinforcing during the Cold War. Featuring engaging commentary and evocative images from the films discussed, Cinematic Cold War offers a shrewd analysis of how the silver screen functioned on both sides of the Iron Curtain. As such it should have great appeal for anyone interested in the Cold War or the cinematic arts.
Author: Mark Bassin
Publisher: Cambridge University Press
ISBN: 1107378680
Category : Literary Criticism
Languages : en
Pages : 385
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Book Description
Since the Soviet Union collapsed in 1991, questions of identity have dominated the culture not only of Russia, but of all the countries of the former Soviet bloc. This timely collection examines the ways in which cultural activities such as fiction, TV, cinema, architecture and exhibitions have addressed these questions and also describes other cultural flashpoints, from attitudes to language to the use of passports. It discusses definitions of political and cultural nationalism, as well as the myths, institutions and practices that moulded and expressed national identity. From post-Soviet recollections of food shortages to the attempts by officials to control popular religion, it analyses a variety of unexpected and compelling topics to offer fresh insights about this key area of world culture. Illustrated with numerous photographs, it presents the results of recent research in an accessible and lively way.
