Как сделан советский киносценарий 1920-х годов
The paper is dealt with theory and practice of screenplay elaborated within the conceptual framework of Russian Formalist School in Humanities, in particular with the legacy of Yuri Tynjanov.
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
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.
It is a life-style and a resident representation in the middle of the world. Rather than pursuing a rationally calculated career goal; humility, compassion, solidarity and an underdog eccentricity. It is not necessary to rely on the spontaneity, solidarity, counterintuitiveness, musicality and poiting.
Article written by the poet Nikolay Oleynikov
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])
The note is devoted to an issue of increasing and transforming nostalgic syndrome in Russian mass movies of the 2000s, especially We Are from the Future (film dylogy 2006-2008) and The Black Lightning (2009). These acse-studies are chosen because of the very intensive work of sub-conscious mechanisms of trauma, symbolic therapy and hyper-compensation. Almost opposite in a question of genre and expressive means both films are very similar in their handle with the 'sacred past', its icons and fetiches.
The present article aims to investigate some vocal effects that came into play in Soviet films of the early 1930s. In the course of the early Soviet experiments with sound recording, performed by broadcast engineers Alexander Shorin (Leningrad) and Pavel Tager (Moscow), the Soviet Union has become able to set up an independent sound film production. It was probably not so highly advanced in Russia as in Hollywood, but still it was sufficient to shoot films with impressive sound effects. During the earliest period, human voices recorded to film simultaneous to the picture, underwent certain distortions, not only due to the shortfalls of sound technology but also for a clear conceptual reason. For example, a voice was being alienated from the body and tended to become a kind of supreme instance that represented the Soviet state existing ‘anywhere and nowhere’. Such films as ‘Alone’ by Grigorij Kozintsev & Leonid Trauberg (1931), ‘Ivan’ by Olexander Dovzhenko (1932) and ‘Deserter’ by Vsevolod Pudovkin (1933) give evidence of how this concept was implemented in the early film. A kind of supernatural voice that belonged to the state was set to be emitted via loudspeakers. It was then gradually getting inside human mind and started ruling it from the inside like a personal voice. The aim of the analysis is to examine how the dominant (transcendent) voice of the state triggers the protagonist’s identity loss while forcing the individual to get his self-adjusted to alien’s voice.
The article about the late Vladimir Mayakovsky