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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.
THR334 Film Analysis
Directing 2003
Directors Forum
GeoAlaska: Theatre & Film
Classes w/Anatoly
DVD: Drama & Art House, Studio Specials & Classics, New & Future Releases, Cult Movies + textbooks
Film Directing 101 (use the pages for THR470) *
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Theory of Spectatorship
Russian-American Theatre Project: 1992-94
film books
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
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
[ make Paradjanov Page? ]
write
I can't use Eisenstein Page anymore (too big), all future texts and pix will be here *
Summary
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.
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 ]
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?
