Tartu 2012, p. 280 Because of his rejection of socio-political engagement, Vladimir Nabokov is often regarded as a virtuouso artist of the ivory-tower variety, aloof from the contemporary march of the minds. Marina Grishakova's book, however, points to the relationship between his narrative techniques and some of the scientific, metaphysical, and ethical ideas on the inner...
AMERICAN ENCOUNTERS/GLOBAL INTERACTIONS, 2000 p.281 In the postwar years, Italy underwent a far-reaching process of industrialization that transformed the country into a leading industrial power. Throughout most of this period, the Italian Communist Party (PCI) remained a powerful force in local government and civil society. However, as Stephen Gundle observes, the PCI was...
Harpenden: Pocket Essentials, 2005. — 255 p. — ISBN10: 1-904048-49-8. A concise study of the work of the most celebrated Russian filmmaker since Eisenstein, and one of the most important directors to have emerged during the 1960s and 1970s Considering the whole of Tarkovsky's oeuvre, this book covers everything from the classic student film The Steamroller and the Violin,...
Routledge, 2005. — 260 p. — (Soviet Cinema). — ISBN: 0-203-99148-6, 0-415-04950-4. In Eisenstein Rediscovered Ian Christie and Richard Taylor present the first true East-West symposium on Eisenstein with an unparalleled diversity of views and methodologies. Two newly discovered texts by Eisenstein are here translated fro the first time, and all the contributors make extensive...
New York: Hill and Wang, 1973. - 208 p. Originally published as Le Cinéma Soviétique par ceux qui l’ont fait , by Les Editeurs Français Réunis, Paris 1, in 1966. David Robinson: Introduction Yutkevich. Teenage Artists of the Revolution Eisenstein. ‘Wie sag’ ich’s meinem Kind?’ and My First Film Alexandrov. Working with Eisenstein Kuleshov. The Origins of Montage Vertov....
New York: Aldine de Gruyer, 1993. — 278 p. Theoretical and Historical Introduction Social Reality and Ideology in Interaction State, Ideology, and Film in Soviet History Soviet Movies in the Revolutionary Period (1918 — 1928): Cordial Acceptance of Official Ideology Soviet Movies in the Aftermath of the October Revolution: The Civil War The Partial Restoration of Capitalism (...
Bloomington, Indiana: Xlibris, 2002. — 424 p. Second edition. Originally published as Kinoglasnost: Soviet Cinema in Our Time (Cambridge University Press, 1992). Preface and Acknowledgments The Melting of the Ice The Waning of the Brezhnev Era Perestroika in the Film Factory Learning a New Game: khozraschet Serving the Muse or the People? Spring Waters and Mud Off the Shelf...
Princeton: Princeton University Press, 1992. — 287 p. Introduction: Period of Adjustment Glasnost: Back to the Present Back to the Present: (Re)presenting the Soviet Past in Feature Films "We Are Your Children": Soviet Youth, Cinema, and Changing Values "Wherever Will I Begin?" Soviet Women in Cinema and on Film Glasnost: Down with Stuttering Is It Easy to Be Honest? Glasnost...
Pittsburgh: Carnegie Museum of Art, 2001. — 50 p. This booklet was prepared in conjunction with a retrospective of Soviet New Wave films screened at the Carnegie Museum of Art as part of the third annual Pittsburgh Russian Film Symposium in May-June 2001. The Unknown New Wave: Soviet Cinema of the Sixties. Alexander Prokhorov. Landscape, with Hero. Evgenii Margolit.
London: Bloomsbury Academic, 2016. — 240 p. Most histories of Soviet cinema portray the 1970s as a period of stagnation with the gradual decline of the film industry. This book, however, examines Soviet film and television of the era as mature industries articulating diverse cultural values via new genre models. During the 1970s, Soviet cinema and television developed a...
London; New York: I. B. Tarius Publishers, 2001. — ISBN: 1-86064-568-2. General Editor's Preface The Golden Age Cinema Before October The Birth of the Soviet Film Industry The Films of the Golden Age, 1925-9 Reaching the People, 1925-9 The Age of Stalin The Cultural Revolution in Cinema The Industry, 1933-41 Censorship, 1933-41 Socialist Realism, 1933-41 Films of World War II...
London: Wallflower, 2000. — 114 p. — ISBN: 1-903364-04-3. Introduction: the golden age of soviet cinema Lev Kuleshov: the origins of montage in soviet cinema Sergei Eisenstein: the mytho-poetics of revolution Vsevolod Pudovkin: conflict and struggle as film art Dziga Vertov: life 'caught unawares’ Alexander Dovzhenko: Ukrainian nationalist cinema Conclusion: cultural revolution...
University Park, PA: The Pennsylvania State University Press, 2000. — 252 p. — ISBN: 0-271-01982-4. Before the Revolt Art and the Intelligentsia Autonomy and Control The Cinematic Field under Brezhnev After the Revolt Liberation and Decay From Masochism to Mythology Appendix: Sources and Methodology List of Informants
London; New York: I. B. Tarius Publishers, 2000. — 267 p. — ISBN: 1-86064-550-X. KINO: The Russian Cinema Series. General Editor’s Preface The Big Sleep, 1953-56 The Fallen Idol Beat the Devil Modem Times The Rules of the Game, 1957-59 The Best Years of Our Lives Great Expectations The Grand Illusion, 1960-64 Children of Paradise Lost Horizon Kameradschaft Meet John Doe Strange...
Austin: University of Texas Press, 1991. - 142 p. - ISBN: 0-292-72747-X Preface: Recent Soviet Film — One Critic's Choice The Age Of Perestroika Purging Stalin's Chost From The Film Industry The Romm Connection Beyond the Year of the Rabbit Youth in Turmoil The New Raskolnikov: Dostoevsky Revisited What Do You Want to Do with Your Life, Ivan Miroshnikov? Looking Back: The...
Indiannapolis: Indiana University Press, 2017. — 228 p. — ISBN10: 0253026962; ISBN13: 978-0253026965 Following Joseph Stalin’s death in 1953, the Soviet Union experienced a dramatic resurgence in cinematic production. The period of the Soviet Thaw became known for its relative political and cultural liberalization; its films, formally innovative and socially engaged, were swept...
New Brunswick, NJ: Rutgers University Press, 2013. — 290 p. — ISBN10: 0813561809; ISBN13: 978-0813561806 — (Jewish Cultures of the World) Even people familiar with cinema believe there is no such thing as a Soviet Holocaust film. The Phantom Holocaust tells a different story. The Soviets were actually among the first to portray these events on screens. In 1938, several films...
Lund: Media-Tryck, 2013. — 315 p. Backgrounds Staging the Problem The Definition and Functions of Myth The City in Cinema A Short Overview of the Cinema of the Perestroika and Post-Perestroika Periods The Myth of Saint Petersburg The Petersburg Myth The Myth’s Transformations in the 1990s Cinematic Petersburg in the Works by Leonid Muratov Coming to terms Methods of the...