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Author: F. Booth Wilson
Publisher: Rutgers University Press
ISBN: 1978839162
Category : Performing Arts
Languages : en
Pages : 257
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Book Description
Best known for Aelita (1924), the classic science-fiction film of the Soviet silent era, Yakov Protazanov directed over a hundred films in a career spanning three decades. Called "the Russian D.W. Griffith" in the 1910s for his formative role in the first movies in the last years of the Russian Empire, he fled the Civil War and maintained a successful career in Europe before making an unusual decision to return to Russia now under Soviet power. There his films continued their remarkable success with audiences undergoing a bewildering and often brutal revolutionary transformation. Rather than treating him as an indistinct, if capable craftsman, The Cinema of Yakov Protazanov argues that his films are suffused with a unique creative vision that reflects both his mindset as a traditional Russian intellectual and his experience of dislocation and migration after 1917. As he adapted his films to revolutionary culture, they intermingled different voices and reinterpreted his past work from a disavowed era. Offering fresh perspectives of Protazanov’s films, the book will give readers a new appreciation of his career. The book offers a uniquely valuable vantage point from which to explore how cinema reflected a society in transformation and a seminal moment in the development of cinematic art.
Author: F. Booth Wilson
Publisher: Rutgers University Press
ISBN: 1978839162
Category : Performing Arts
Languages : en
Pages : 257
Get Book Here
Book Description
Best known for Aelita (1924), the classic science-fiction film of the Soviet silent era, Yakov Protazanov directed over a hundred films in a career spanning three decades. Called "the Russian D.W. Griffith" in the 1910s for his formative role in the first movies in the last years of the Russian Empire, he fled the Civil War and maintained a successful career in Europe before making an unusual decision to return to Russia now under Soviet power. There his films continued their remarkable success with audiences undergoing a bewildering and often brutal revolutionary transformation. Rather than treating him as an indistinct, if capable craftsman, The Cinema of Yakov Protazanov argues that his films are suffused with a unique creative vision that reflects both his mindset as a traditional Russian intellectual and his experience of dislocation and migration after 1917. As he adapted his films to revolutionary culture, they intermingled different voices and reinterpreted his past work from a disavowed era. Offering fresh perspectives of Protazanov’s films, the book will give readers a new appreciation of his career. The book offers a uniquely valuable vantage point from which to explore how cinema reflected a society in transformation and a seminal moment in the development of cinematic art.
Author: Booth Wilson
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
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Book Description
This dissertation examines the work of Yakov Aleksandrovich Protazanov, who directed over one hundred films in the silent era. He became a leading director in late tsarist Russia, emigrated to Europe after the Russian Revolution, then repatriated to the Soviet Union and adapted to the new regime. He made consistently popular films in a national cinema tradition dominated by narratives of failure and revolutionary rupture. This study analyzes his surviving film works from 1911 to 1930, using archival sources to situate them within transnational norms of filmmaking practice. Its central question is why Protazanov continued to enjoy a stable career despite the volatile politics of the era. I argue that as Protazanov adapted his practice to the moment, he accumulated filmmaking techniques and employed an increasing range of stylistic devices. He attentively borrowed from other successful filmmakers, both within Russia and beyond, yet never abandoned many features of his style in his earliest films. His expansive, eclectic style and consistent output challenges received wisdom about the evolution of cinema in the Russo-Soviet context, which emphasizes the impact of changing ideology and the role of an artistic avant-garde. Soviet political imperatives did indeed encourage filmmakers to innovate new stylistic techniques, but they also encouraged them to reuse, recycle, and reappropriate those techniques they had already mastered in the pre-revolutionary era. Protazanov's career further suggests that the major changes in cinematic style across the revolutionary divide stemmed less from Bolshevik prerogatives and more from films' shifting patterns of transnational circulation and a dialogue among an international community of filmmakers. Divided into three parts corresponding to Protazanov's migrations, seven chapters chronologically trace the expansion of his style. They include analyses of canonical films such as The Queen of Spades (1916), Father Sergius (1917), and Aelita (1924); lesser-known but successful ones such as His Call (1925) and The Case of Three Million (1926); and several that have only recently been rediscovered, including The Convict's Song (1911), The Broken Vase (1913), Child of Another (1919), Towards the Light (1921), and Pilgrimage of Love (1923).
Author: Booth Wilson
Publisher:
ISBN:
Category :
Languages : en
Pages : 337
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Book Description
This dissertation examines the work of Yakov Aleksandrovich Protazanov, who directed over one hundred films in the silent era. He became a leading director in late tsarist Russia, emigrated to Europe after the Russian Revolution, then repatriated to the Soviet Union and adapted to the new regime. He made consistently popular films in a national cinema tradition dominated by narratives of failure and revolutionary rupture. This study analyzes his surviving film works from 1911 to 1930, using archival sources to situate them within transnational norms of filmmaking practice. Its central question is why Protazanov continued to enjoy a stable career despite the volatile politics of the era. I argue that as Protazanov adapted his practice to the moment, he accumulated filmmaking techniques and employed an increasing range of stylistic devices. He attentively borrowed from other successful filmmakers, both within Russia and beyond, yet never abandoned many features of his style in his earliest films. His expansive, eclectic style and consistent output challenges received wisdom about the evolution of cinema in the Russo-Soviet context, which emphasizes the impact of changing ideology and the role of an artistic avant-garde. Soviet political imperatives did indeed encourage filmmakers to innovate new stylistic techniques, but they also encouraged them to reuse, recycle, and reappropriate those techniques they had already mastered in the pre-revolutionary era. Protazanov's career further suggests that the major changes in cinematic style across the revolutionary divide stemmed less from Bolshevik prerogatives and more from films' shifting patterns of transnational circulation and a dialogue among an international community of filmmakers. Divided into three parts corresponding to Protazanov's migrations, seven chapters chronologically trace the expansion of his style. They include analyses of canonical films such as The Queen of Spades (1916), Father Sergius (1917), and Aelita (1924); lesser-known but successful ones such as His Call (1925) and The Case of Three Million (1926); and several that have only recently been rediscovered, including The Convict's Song (1911), The Broken Vase (1913), Child of Another (1919), Towards the Light (1921), and Pilgrimage of Love (1923).
Author: Ian Christie
Publisher: Routledge
ISBN: 1134944330
Category : Performing Arts
Languages : en
Pages : 306
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Book Description
This is the first collection to be inspired and informed by the new films and archival material that glasnost and perestroika have revealed, and the new methodological approaches that are developing in tandem. Film critics and historians from Britain, America, France and the USSR attempt the vital task of scrutinising Soviet film, and re-examining the Cold War assumptions of traditional historiography. Whereas most books on Soviet giants have glorified the directorial giants of the `golden age' of the 1920s, Inside the Film Factory also recognises the achievements of popular cinema from the pre-Revolutionary period through to the 1930s and beyond. It also evaluates the impact of Western cinema on the early experimenters of montage, Russian science fiction's influence on film-making, and the long-suppressed history of Soviet Yiddish productions. Alongside the new perspectives and source material on the much-mythologised figures of Kuleshov and Medvedkin, the book provides the first extended accounts in English of the important but neglected careers of directors Yakov Protazanov and Boris Barnet.
Author: Richard Taylor
Publisher: Cambridge University Press
ISBN: 9780521088558
Category : History
Languages : en
Pages : 238
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Book Description
The book provides an illuminating background of the political history of the Soviet cinema in the twenties.
Author: Ian Christie
Publisher: Routledge
ISBN: 1135082510
Category : Social Science
Languages : en
Pages : 486
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Book Description
The Film Factory provides a comprehensive documentary history of Russian and Soviet cinema. It provokes a major reassessment of conventional Western understanding of Soviet cinema. Based on extensive research and in original translation, the documents selected illustrate both the aesthetic and political development of Russian and Soviet cinema, from its beginnings as a fairground novelty in 1896 to its emergence as a mass medium of entertainment and propaganda on the eve of World War II.
Author: Ian Christie
Publisher:
ISBN: 9780851703817
Category : Motion picture producers and directors
Languages : en
Pages : 84
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Book Description
Author: Jay Leyda
Publisher: Princeton University Press
ISBN: 0691003467
Category : History
Languages : en
Pages : 584
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Book Description
Documents the evolutionary development of the nation's cinema and its film artists, focusing on the period between 1896 and the death of Eisenstein in 1948.
Author: Jill Nelmes
Publisher: Psychology Press
ISBN: 9780415262699
Category : Performing Arts
Languages : en
Pages : 532
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Book Description
An Introduction to Film Studies has established itself as the leading textbook for students of cinema. This revised and updated third edition guides students through the key issues and concepts in film studies, and introduces some of the world's key national cinemas including British, Indian, Soviet and French. Written by experienced teachers in the field and lavishly illustrated with over 122 film stills and production shots, it will be essential reading for any student of film.Features of the third edition include:*full coverage of all the key topics at undergraduate level*comprehensive and up-to-date information and new case studies on recent films such as Gladiator , Spiderman , The Blair Witch Project, Fight Club , Shrek and The Matrix*annotated key readings, further viewing, website resources, study questions, a comprehensive bibliography and indexes, and a glossary of key terms will help lecturers prepare tutorials and encourage students to undertake independent study.Individual chapters include:*Film form and narrative*Spectator, audience and response*Critical approaches to Hollywood cinema: authorship, genre and stars*Animation: forms and meaning*Gender and film*Lesbian and gay cinema*British cinema*Soviet montage Cinema*French New Wave*Indian Cinema
Author: Jamie Miller
Publisher: Bloomsbury Publishing
ISBN: 085771693X
Category : History
Languages : en
Pages : 239
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Book Description
When the Bolsheviks seized power in the Soviet Union during 1917, they were suffering from a substantial political legitimacy deficit. Uneasy political foundations meant that cinema became a key part of the strategy to protect the existence of the USSR. Based on extensive archival research, this welcome book examines the interaction between politics and the Soviet cinema industry during the period between Stalin's rise to power and the beginning of the Great Patriotic War. It reveals that film had a central function during those years as an important means of convincing the masses that the regime was legitimate and a bearer of historical truth. Miller analyses key films, from the classic musical 'Circus' to the political epic "The Great Citizen", and examines the Bolsheviks', ultimately failed, attempts to develop a 'cinema for the millions'. As Denise Youngblood writes, 'this work is indispensable reading not only for specialists in Soviet film and culture, but also for anyone interested in the dynamics of cultural production in an authoritarian society'.
