Современный рынок советского кино: социокультурный анализ способов позиционирования DVD-продукции
The paper examines some classical cases of adaptation of western genre in the USSR.
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
A number of papers devoted to creative economy indicated cultural institutions as a specific type of production with hidden behind an attractive bohemian lifestyle inequalities and exploitation. This discussion describes mostly the situation in Western Europe and excludes the post-Soviet context . The focus of this paper is to consider the organization of creative labor in the Russian context. This paper examines two types of cultural institutions that dominate the cultural scene of the St. Petersburg early 2010's: the "old" (state, former state or having sustained support of the state budget) and the "new" ones, which include primarily appeared in the last decade lofts, creative space and other initiatives funded by private means or without substantial funding. In particular, through the prism of everyday working routine of young cultural workers, these institutions will be interpreted possible career path, the key elements of cultural production and the typical operating mode.
This book examines shifts in the meaning of montage in different historical situations and in various artistic media, including literature, cinema, theater, and visual arts. Its scope includes literature and art of Soviet Russia (both official and unofficial), Germany, France, and the United States from 1910 to the 2010s. While this book does not provide a cohesive historical sketch, it delivers comparative studies on artists whose works problematize common understandings of the avant-garde in art history.
This study argues that different types of artistic montage correspond to different conceptions of history, dividing the history of montage aesthetics and techniques into three periods: (1) constructing, (2) post-utopian, and (3) historicizing or analytic montage. This book intends to demonstrate how the revolutionary montage aesthetics of the 1920s was reinterpreted and adapted for critical analysis of utopian consciousness in unofficial literature and art of the 1960s and 1970s. This change became possible because unofficial art, unlike Soviet socialist realism, was connected with the experiments of European and American radical modernism and postmodernism.
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.
A reprint of a monthly film magazine Soveto Eiga (Soviet Cinema, 1950-1954) issued in postwar Japan (with an introduction and a detailed table of contents).
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])