2008 : ... my amazon list : KINO - Russian Cinema

in russian and russian and russian cinema (Tarkovsky Pages) Cinema and Soviet Society : From the Revolution to the Death of Stalin (KINO - The Russian Cinema) * The story of Soviet film in the period covered by Peter Kenez is central to the history of world cinema. The author explores the roots of Soviet cinema in the film heritage of pre-Revolutionary Russia; the changes in content, style, technical means, and production capacities generated by the Revolution of 1917; the constraints on form and subject imposed from the 1930s in the name of Socialist Realism; the relative freedom of expression accorded to film-makers during World War Two; and the extraordinary repression during the final years of the Stalin era. Filmmaking film.vtheatre.net I do not follow the most recent development of the post-Soviet cinema, all my memories are twenty years old... Russian-American Theatre Project: 1992-94 Russian Pages in Russian I. STALINIST CINEMA -- A History of Narrative Film * Book by David A. Cook; W. W. Norton, 1996 Bookmark vTheatre! film books II. CINEMA DURING THE KHRUSHCHEV THAW Stalin's death on March 5, 1953, caused an immediate loosening of ideological criteria, and 1954 witnessed the production of forty Soviet features... Khrushchev declared that Stalin had not set foot in a village since 1928, adding: He knew the country and agriculture only from films. And these films had dressed up and beautified the existing situation Many films so pictured kolkhoz life that the tables were bending from the weight of turkeys and geese. Evidently, Stalin thought it was actually so. virtual theatre * Ironically, the artistic integrity of the Soviet cinema had been well preserved at the VGIK even during the worst years of the cult of personality owing to the Stalinist practice of compulsorily retiring "formalist" directors from the industry to the classroom during purges. Thus, Kuleshov had taught introductory courses from 1944 until his death in 1970; Eisenstein had designed the professional directing curriculum—the first of its kind in the world—between 1932 and 1935 and held the director's Chair from 1939 until his death in 1948; and Pudovkin, Dovzhenko, Tisse, Kozintsev, and lutkevich had all held lectureships at the institute during the worst years of Stalin's regime. During the early years of the thaw, it was revealed that these and other VGIK teachers had kept the experimental impetus of the twenties alive for their students by cultivating a distinction between "production films" (orthodox films for public distribution) and "diploma films" (stylistically advanced films made within the institute that were required to demonstrate a working knowledge of contemporary innovations such as Italian neorealism). In this way, the old guard at the VGIK was able to infuse the rising generation of Soviet directors with a cinematically vital tradition during "the time of few films," so they were able to do significant work of their own during the thaw. In December 1962, Khrushchev announced that liberalism in the arts had gone too far, and he issued a stinging indictment of Soviet modernist painting on the occasion of the exhibition "Thirty Years of Pictorial Art" in Moscow... webbing III. SERGEI PARAJANOV AND SHADOWS OF FORGOTTEN ANCESTORS [ make Paradjanov Page? ] write ISSUS: Tarkovsky vs. Eisenstein + North vs. South + West & East + "Wild West" (USA) + Russian & Soviet I can't use Eisenstein Page anymore (too big), all future texts and pix will be here * Summary kinoeye.org * Notes Real Images : Soviet Cinemas and the Thaw (KINO - The Russian Cinema) * During "the thaw" from Stalin’s death in 1953 to the late 1960s and Khrushchev’s rule, Soviet society experienced major transformations. So did films. In this first comprehensive account of the relationship between politics and cinema in this period, Josephine Woll skillfully interweaves cultural history with film analysis to explore how movies at once responded to the changes around them and helped engender them. She considers dozens of individual films within the context of Khrushchev’s policies and the artistic foment they inspired. Andrey Tarkovsky: Sculpting in Time : Reflections on the Cinema Paperback: 254 pages * Publisher: University of Texas Press; Reprint edition (April 1, 1989) The idea behind the title of the book is that the film-goer goes to the cinema to experience time, and that the director's job is to sculpt the time that the audience experiences -- cut away the inessential words and seconds and pieces. This book is an introduction to the rules that Tarkovsky set for himself in achieving this goal. * Two Tarkovsky pages @ film.vtheatre.net: Mirror & Rublev ("Sacrifice" doc hour) for Russian Cinema & USSR + in Russian *

Russian/Soviet Cinema

Sister-pages: GIK (lost) & Rublev

Tarkovsky: Images

Also see Film600 pages: Bad Theories + Wrong Suibject (Postmodern Film Anti-Theory).

Links

My Film-North Reference Page

filmplus.org/kino

[ too bad I have no time to offer Russian Cinema class! ]

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Some links must be repeated on Film-North reference page!

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Next: Russian Cinema

[ Russian ] Страницу эту никто не читает, могу по-русски. Эйзенштейна во ВГИКе не любил, как и многие мои сверстники, но это была икона. Так и о Марксе говорить было нельзя. Даже читать было позорно. А эстетики (языка) кино у Эйзена много (тогда не знал, что он ученик Меерхольда, и о М. мало знал). Парадокс советских (немецких) диктатурных времен, "формальными" принципами надо было заниматься много -- искусством? Вот с него (Эейзенштейн) все и началось. И эстетика и "проблема режиссера" (советский режиссер, который должен пропагандой заниматься за "чужие" деньги, это только предельное и открытое выражение того положения, что существует в кино-индустрии). Снимать кино становится технически легче, может "художник" и сможет быть собой в кино? Если эти души еще будут рождаться...

Великих фильмов меньше, чем великих книг, а время "творцов" уже кончилось? Какая ты короткая, кино-история! Dear Anatoly Antohin,

I am writing to inform you that this December, the Brooklyn Academy of Music will be presenting a film festival honoring tow Soviet Masters: Andrei Tarkovsky and Aleksandr Dovzhenko.

I noticed your site and thought information on this event might be of interest to the people visiting your site; I can't get access to the discussion board so I decided I would email you directly.

We would be very honored if you could host this event on your page at http://members.tripod.com/~afronord/tarkov.html.
Below is a short description:

December 5-19, 2002

Films at the Brooklyn Academy of Music

Six films from My Name is Andrei Tarkovsky. Program includes Solaris and Stalker. This series is being held in parallel with Ukrainian Dreams: Aleksandr Dovzenkho.

BAM Rose Cinemas, 30 Lafayette Ave, Brooklyn, NY. For more info visit http://www.bam.org/info/cinema.asp#MyNameIAn
General Admission: $9 - Students with ID (Mon-Thu, except Holidays), seniors: $6.
Please do not hesitate to contact me may you need further information on this event. I am looking forward to hearing from you soon.
Thank you for your future cooperation.

Best regards,
Lorene Ganet
Marketing Intern
Brooklyn Academy of Music 718-636-4123 x6

Brodsky DVD

Russian Movies

Russian Classical Music

Russian Children Books

Russian History

Russian Art

Russian Politics

Russian Culture

Russian Literature

Russian People

Stalin in Berlin [ From Mikheil Chiaureli's Padeniye Berlina / Fall of Berlin (1949) ]

Socialist Realism in film history [?]