Synopses & Reviews
Russian Cinema provides a lively and informative exploration of the film genres that developed during Russia's tumultuous history, with discussion of the work of Eisenstein, Pudovkin, Mikhalkov, Paradzhanov, Sokurov and others.
The background section assesses the contribution of visual art and music, especially the work of the composers Shostakovich and Prokofev, to Russian cinema. Subsequent chapters explore a variety of topics:
* The literary space - the cinematic rendering of the literary text, from 'Sovietized' versions to bolder and more innovative interpretations, as well as adaptations of foreign classics
* The Russian film comedy looks at this perennially popular genre over the decades, from the 'domestication' of laughter under Stalin to the emergence of satire
* The historical film - how history has been used in film to affirm prevailing ideological norms, from October to Taurus
* Women and Russian film discusses some of the female stars of the Soviet screen (Liubov Orlova, Vera Alentova, Liudmila Gurchenko), as well as films made by male and female directors, such as Askoldov and Kira Muratova
* Film and ideology shows why ideology was an essential component of Soviet films such as The Maxim Trilogy, and how it was later definitively rejected
* The Russian war film looks at Civil War and Second World War films, and the post-Soviet treatment of recent conflicts in Afghanistan and Chechnya
* Private life and public morality explores the evolution of melodramas about youth angst, town and village life, personal relationships, and the emergence of the dominant sub-genre of the 1990s, the gangster thriller
* Autobiography, memory and identity offers a close reading of the work of Andrei Tarkovskii, Russia's greatest post-war director, whose films, including Andrei Rublev and Mirror, place him among the foremost European auteur film-makers
Russian Cinema offers a close analysis of over 300 films illustrated with representative stills throughout. As with other titles in the Inside Film series it includes comprehensive filmographies, a thorough bibliography and an annotated further reading list. The book is a jargon-free, accessible study that will be of interest to undergraduates of film studies, modern languages, Russian language and literature, as well as cineastes, film teachers and researchers.
Dr David Gillespie is Reader in Russian in the Department of European Studies and Modern Languages at the University of Bath.
Series Editor - Alexander Ballinger, McLean Film & Media Ltd.
Cover Image: Ignat Daniltsev in Mirror (Andrei Tarkovskii, 1974) reproduced with kind permission of Artificial Eye Film Company Ltd.
Synopsis
Includes bibliographical references (p. [187]-194), filmography, and index.
Synopsis
Russian Cinema provides a lively and informative exploration of the film genres that developed during Russia's tumultuous history, with discussion of the work of Eisenstein, Pudovkin, Mikhalkov, Paradzhanov, Sokurov and others.
The background section assesses the contribution of visual art and music, especially the work of the composers Shostakovich and Prokofev, to Russian cinema. Subsequent chapters explore a variety of topics:
* The literary space - the cinematic rendering of the literary text, from 'Sovietized' versions to bolder and more innovative interpretations, as well as adaptations of foreign classics
* The Russian film comedy looks at this perennially popular genre over the decades, from the 'domestication' of laughter under Stalin to the emergence of satire
* The historical film - how history has been used in film to affirm prevailing ideological norms, from October to Taurus
* Women and Russian film discusses some of the female stars of the Soviet screen (Liubov Orlova, Vera Alentova, Liudmila Gurchenko), as well as films made by male and female directors, such as Askoldov and Kira Muratova
* Film and ideology shows why ideology was an essential component of Soviet films such as The Maxim Trilogy, and how it was later definitively rejected
* The Russian war film looks at Civil War and Second World War films, and the post-Soviet treatment of recent conflicts in Afghanistan and Chechnya
* Private life and public morality explores the evolution of melodramas about youth angst, town and village life, personal relationships, and the emergence of the dominant sub-genre of the 1990s, the gangster thriller
* Autobiography, memory and identity offers a close reading of the work of Andrei Tarkovskii, Russia's greatest post-war director, whose films, including Andrei Rublev and Mirror, place him among the foremost European auteur film-makers
Russian Cinema offers a close analysis of over 300 films illustrated with representative stills throughout. As with other titles in the Inside Film series it includes comprehensive filmographies, a thorough bibliography and an annotated further reading list. The book is a jargon-free, accessible study that will be of interest to undergraduates of film studies, modern languages, Russian language and literature, as well as cineastes, film teachers and researchers.
Dr David Gillespie is Reader in Russian in the Department of European Studies and Modern Languages at the University of Bath.
Series Editor - Alexander Ballinger, McLean Film & Media Ltd.
Cover Image: Ignat Daniltsev in Mirror (Andrei Tarkovskii, 1974) reproduced with kind permission of Artificial Eye Film Company Ltd.
Synopsis
Russian Cinema takes in over 300 films in a lively and informative exploration of the cinematic genres that have developed over almost 100 years, including the work of Eisenstein, Pudovkin, Mikhalkov, Paradzhanov and Sokurov.
Synopsis
Soviet and Russian filmmakers have traditionally had uneasy relationships to the concept of genre. This volume rewrites that history by spotlighting some genres not commonly associated with cinema in the region, including Cold War spy movies and science-fiction films; blockbusters and horror films; remakes and adventure films; and chernukha films and serials. Introductory essays establish key aspects of these genres, and directorsandrsquo; biographies provide the background for the key players. Building on the work of its predecessor, which explored cinema from the time of the tsars to the Putin era, this book will be warmly received by the serious film scholar as well as all those who love Russian cinema.
Directory of World Cinema: Russia 2 is an essential companion to the filmic legacy of one of the worldandrsquo;s most storied countries.
About the Author
Birgit Beumers is professor of film studies at Aberystwyth University, Wales. Her publications include
Directory of World Cinema: Russia, A History of Russian Cinema, and, with Mark Lipovetsky,
Performing Violence: Literary and Theatrical Experiments of New Russian Drama. Table of Contents
Acknowledgements
and#160;
Introduction by the Editor
and#160;
Film of the Year
Rasskazy/Short Stories
Interview with Mikhail Segal
and#160;
Festival Focus
Moscow International Film Festival
and#160;
Directors
Iakov Protazanov
Aleksandr (Oleksandr) Dovzhenko
Abram Room
Lev Kuleshov
Vasiland#8217;ev and#8216;Brothersand#8217;
Ivan Pryand#8217;ev
Grigorii Aleksandrov (Mormonenko)
Mikhail Kalatozov (Kalatozishvili)
Fedor Khitruk
Elem Klimov
Kira Muratova
Stanislav Govorukhin
Aleksei Iurand#8217;evich German
Sergei Solovand#8217;ev
Pavel Lungin
Aleksandr Rogozhkin
Aleksei Balabanov
and#160;
Adventure Film
Essay
Reviews
and#160;
Blockbusters
Essay
Reviews
and#160;
Science Fiction
Essay
Reviews
and#160;
Horror
Essay
Reviews
and#160;
Sequels and Remakes
Essay
Reviews
and#160;
Television Series
Essay
Reviews
and#160;
Cold War Spy Films
Essay
Reviews
and#160;
Chernukha
Essay
Reviews
and#160;
Animation Dand#8217;Auteur
Essay
Reviews
and#160;
Documentary Film
Essay
Reviews
and#160;
Recommended Reading
and#160;
Russian Cinema Online
and#160;
Test Your Knowledge
and#160;
Notes on Contributors
and#160;
Filmography
and#160;