The paper is based on the cultural and social analysis of “The White Sun of Desert” feature fi lm (1969, director V. Motyl) and is aimed to discover the “closed societies” specifi c in visualizing of of American western’s key categories such as “hero”, “anti-hero” and “society”. Thus, the genre of “eastern” is explained as the narrative formula legitimizing the norms of cultural interaction between societies of diff erent types as well as careful extension of these norms.
This subchapter deals with the medial and communicative functions of Soviet cinema during the interwar period. More specifically, it explores how the concept of Soviet viewership articulated within the framework of public discourse influenced the form of cinematic communication between the audience and the Soviet regime during the 1920s and 1930s. Giving a brief overview of the discussions on Soviet viewership during the 1920s, this paper next addresses the transformations, both on the level of the film industry and on the level of the cinematic message, brought to the Soviet film industry with the coming of sound. Special emphasis is paid to the history of sound recording technology and how new tools of expression expanded the ideological and political power of audiovisual media. Finally, this paper determines how the legacies of the avant-garde were appropriated by the cinema of Socialist Realism.
The article examines the history of Soviet and early post-Soviet film between the late 1980s and early 1990s with attention to the assimilation of codes of sexuality, methods for showing the naked body and the motivations behind this. The concept of the “pornographic imagination,” which brings together the approaches of Susan Sontag and Jacques Lacan, enables Levchenko to trace a change in attitudes toward representations of the body in film, which had been liberated from the need to adhere to the norms of both “high art” and “societal morals.” Between the perestroika period and the mid-1990s, sex in (post-)Soviet film was transformed from a set of stigmatized and taboo practices into a universal resource of interpretation, and subsequently into a commodity that spurred the growth of self-sufficient consumption
The present introduction to Oksana Bulgakowa's biography of Sergei Eisenstein the experience of biographical and critical writing on Eisensteon in Russia and abroad is being briefly described and characterized. Also the significance of the very figure of the artist is specified, and main issues in researching his voulumetric heritage are also considered.
Andrei Tarkovsky's last film The Sacrifice what shot during spring and summer 1985 one Gotland and in Stockholm. This book contains more than 250 photographs taken over the course of the shooting period, from the first day of filming to the last. You will not see in these photographs a posing director, or posing members of the film crew, no; rather you will se a visual record capturing our workday, rehearsals, pensive moments, minutes of repose and instances of extreme tension. Time and memories slip away, but photographs bring back to life the details, atmosphere and mood. This book fulfils a desire to share with everyone who values the oeuvre of Andrei Tarkovsky that "sculpted time" - those captures moments - when we filmed, in Sweden, the work that was to become his testament to the world, in order to impart, in whatever way possible, the irrepressible, incandescent energy that burst forth from the director in a continuous torrent, affecting and enchanting every one of us who came into his presence.
In her research, Anastasia Fedorova explores how in the first half of the twentieth century Japanese and Russian filmmakers, critics, and audiences interacted with each other through the medium of film. Drawing on primary sources collected in Japan, Russia, and the U.S., she presents the concept of Realism as a recurrent concern and the chief motivating force behind the interactions between Soviet and Japanese cinema.
Review of: Olesha Iu. K. Zavist'. Zagovor chuvstv. Strogii iunosha. [Yurii Olesha. Envy. The Conspiracy of Feelings. A Strict Young Man]. Edited by A.V. Kokorin; introduction and commentary by A.V. Kokorin, N.A. Gus'kov. St. Petersburg: Vita Nova, 2017 (“Rukopisi” [Manuscripts])