«This Film Was Captured as a Trophy…»: the International Context of Trophy Films
This paper is devoted to the issue of so–called ‘trophy films’ in the context of Soviet foreign policy. The aim of this research is to reveal how the cultural competition between the USSR and the USA during the early Cold War caused the emergence of the famous credit title «This film was captured as a trophy after the Soviet Army defeated Nazi troops near Berlin in 1945», and, as a consequence, resulted in the establishing of ‘Trophy Film’ concept in public discourse.
In compliance with the enhanced originality standard as resulting from the rejection of the ‘sweat of the brow’
approach in Feist Publ’ns, Inc v Rural Tel Serv Co,499 U.S. 340, 345 (1991), the US Copyright Office
Review Board has confirmed the refusal to register a chequered fabric pattern as a copyright work.
This article is devoted to the policy of the distribution of “trophy films” and the mechanisms of Soviet censorship in the context of transfers and seizures captured by the Soviets during World War II. This is the publication of the archival document with comments on the cuts of film Secret Tibet (Geheimnis Tibet, 1943) which was confiscated from Germany by the Red Army in 1945.
This article is devoted to the retrospective perception of the phenomenon of “trophy films” in the USSR and post-Soviet Russia. Based upon an analysis of memoirs, fiction, non-fiction, articles in the press, this research aims to answer the question of why there was such an intense interest in the phenomenon of trophy films from the 1980s through the 2000s. The structure of the text follows two main directions, based upon remembrances about two key trophy films: Tarzan and The Woman of My Dreams. As a result, the research analyzes the discourse and interpretations brought to the cultural landscape of the 1980s through the 2000s.
This paper deals with the issue of trophy films, transported by the Soviet Army to the USSR after the Second World War.