Studies in Russian and Soviet Cinema最新文献_第8页

Animation behind the iron curtain: a guide to animated films from Russia and eastern bloc countries during the Cold War era 铁幕背后的动画：冷战时期俄罗斯和东欧国家的动画电影指南

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Studies in Russian and Soviet Cinema Pub Date : 2021-09-02 DOI: 10.1080/17503132.2021.1970384

O. Blackledge

{"title":"Animation behind the iron curtain: a guide to animated films from Russia and eastern bloc countries during the Cold War era","authors":"O. Blackledge","doi":"10.1080/17503132.2021.1970384","DOIUrl":"https://doi.org/10.1080/17503132.2021.1970384","url":null,"abstract":"of DeBlasio’s text is so fitting for its main protagonist, one can’t help but wonder what could be gained if the book was organised chronologically rather than thematically. What if the discussions of all the films of the 1980s were clustered together, including Mamardashvili’s own discussion of Vadim Abdrashitov and Aleksandr Mindadze’s film The Train Stopped (1982)? While the book does a good job at historicising some aspects of Mamardashvili’s philosophy, there are some aspects that seem missing. While there are some convincing arguments about the social and political in Chapter 3 on Mamuliya’s Another Sky (2010), the transition between the Soviet and the post-Soviet periods is in the background but is never properly addressed. For a book on a Marxist philosopher interested in consciousness, The filmmaker’s philosopher has very little on any aspects of late Soviet Marxism. While Mamardashvili died in 1990, before the Soviet Union collapsed, what does his lasting influence on post-Soviet filmmakers tell us about those filmmakers or his philosophy in terms of politics? Perhaps it is one of the speculative questions the book inspires rather than criticism. I hope DeBlasio’s book can be used as a springboard for future researchers to look into other issues of Mamardashvili’s work, but also into the larger intellectual history of the late Soviet period, as well as the individual filmmakers. Chapters on Sokurov and Balabanov are great additions to studies of these auteurs, covering their lesser-known films (Balabanov’s cinema is still awaiting a book-length study in the English language). The conclusion, which discusses Andrei Zvyagintsev’s Loveless (2017) and questions of film philosophy, is an intriguing end to a compelling study. It is a must read for anybody interested in Soviet film and culture and for scholars interested in film and philosophy.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"15 1","pages":"250 - 252"},"PeriodicalIF":0.1,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45745139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Editorial 社论

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Studies in Russian and Soviet Cinema Pub Date : 2021-09-02 DOI: 10.1080/17503132.2021.1990514

B. Beumers

{"title":"Editorial","authors":"B. Beumers","doi":"10.1080/17503132.2021.1990514","DOIUrl":"https://doi.org/10.1080/17503132.2021.1990514","url":null,"abstract":"The third issue of Studies in Russian & Soviet Cinema for 2021 presents four articles that stretch across the entire history of Soviet and post-Soviet cinema and visual art forms. We begin with Binayak Bhattacharya’s extraordinary analysis of the impact of Soviet cinema on the Indian film industry, revealing the absence from distribution of many films that were banned for political reasons from British India (as much as Britain itself) whilst having, through critical narrative, a strong influence on filmmakers. Using archival sources, he reconstructs these critical narratives. Sergei Ogudov engages in a similarly meticulous reconstruction of creative processes, in his case of the changes between Ekaterina Vinogradskaia’s literary script and Fridrikh Ermler’s film A Fragment of the Empire, drawing extensively on archival sources and applying narrative theory to the comparison of the texts. We stay in the Soviet era for Deborah Allison’s perceptive reading of the war-time imagery in the fairy-tale film Kashchei the Immortal by Aleksandr Rou. Finally, Lynn Patyk takes us to the very present with a study of Little Big and the group’s synthetic approach in the music video. We have a rich section of book reviews, prepared and presented by Stephen M. Norris, to whom I express my deep gratitude for this ‘booster’ in the midst of delays caused by the pandemic almost everywhere along any publication process. As this issue is about to go to print, news has come in of the premature and unexpected death of the outstanding film scholar and programme director of the Moscow International Film Festival, Kirill Razlogov (whose article on Parajanov’s prison experience and its impact on his films appeared in this journal in 2018). Our deepest sympathy goes to his family and friends, colleagues and students – indeed, a whole generation of new film scholars. As always, Studies in Russian & Soviet Cinema encourages submissions on any aspect of Soviet, post-Soviet and Russian cinema and visual culture, including the former Soviet territories. We operate a system of double-blind peer-review; submissions should be original (i.e., previously unpublished, including publications in another language) and will be considered at any time throughout the year. They should be sent to the editor at birgit.beumers@gmail.com. I should like to take this opportunity to thank the journal’s production team at Taylor & Francis, as well as my editorial and advisory boards, and particularly Richard Taylor for his generosity when it comes to matters of translation.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"15 1","pages":"175 - 175"},"PeriodicalIF":0.1,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43348428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The filmmaker’s philosopher. Merab Mamardashvili and Russian cinema 电影制作人的哲学家。梅拉布·马马尔达什维利与俄罗斯电影

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Studies in Russian and Soviet Cinema Pub Date : 2021-09-02 DOI: 10.1080/17503132.2021.1970383

R. Sidenova

引用次数: 1

Men out of focus: the Soviet masculinity crisis in the long sixties 男性失焦：六十年代的苏联男性危机

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Studies in Russian and Soviet Cinema Pub Date : 2021-09-02 DOI: 10.1080/17503132.2021.1970388

Natalia Plagmann

{"title":"Men out of focus: the Soviet masculinity crisis in the long sixties","authors":"Natalia Plagmann","doi":"10.1080/17503132.2021.1970388","DOIUrl":"https://doi.org/10.1080/17503132.2021.1970388","url":null,"abstract":"of their greater number, even though their contributions to what the authors call women’s cinema may not be any less consequential. Indeed, the conversation about gender issues and what women’s cinema is begins in the introduction of Chapter 1. The authors argue and convincingly illustrate throughout the book that ‘animation made by women was and is gendered’ (5) and that animations made by women depict opinions on important feminine problems. They effectively prove that these twelve female directors shaped the notion of female subjectivity in Soviet animation. Finally, the book positions animation as more than simply being of interest to children and places it in the broader context of Soviet and post-Soviet cinema and culture generally. The book is not without a few minor flaws. For example, it is unclear why the authors do not use a soft sign in their transliterations, which is quite eye-catching for Russian speakers. Similarly, Chapter 1 would be better identified as an introduction because it functions as such: the book’s layout would have been more consistent and logical. Nevertheless, She animates productively ‘begins a dialogue about women animators, preserving their legacy through the concept of women’s cinema’ (193). Michele Leigh and Lora Mjolsness have done a great job highlighting women’s directorial voices together with feminine aesthetics and Soviet and Russian female subjectivity. This interdisciplinary volume is an important and much-needed contribution to animation, gender and women’s studies.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"15 1","pages":"257 - 259"},"PeriodicalIF":0.1,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44446627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

The victory banner over the Reichstag: film, document, and ritual in Russia’s contested memory of World War II 战胜国会大厦的胜利旗帜：俄罗斯有争议的二战记忆中的电影、文件和仪式

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Studies in Russian and Soviet Cinema Pub Date : 2021-09-02 DOI: 10.1080/17503132.2021.1970386

Stephen M. Norris

引用次数: 0

ReF ocus: the f ilm s of Andrei Tarkovsky 参考:安德烈·塔可夫斯基的电影

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Studies in Russian and Soviet Cinema Pub Date : 2021-09-02 DOI: 10.1080/17503132.2021.1970390

Maria Belodubrovskaya

引用次数: 0

From internationalism to postcolonialism: literature and cinema between the second and the third world 从国际主义到后殖民主义:第二世界与第三世界之间的文学与电影

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Studies in Russian and Soviet Cinema Pub Date : 2021-09-02 DOI: 10.1080/17503132.2021.1970385

Lida Oukaderova

引用次数: 5

The cinema of Soviet Kazakhstan, 1925-1991: an uneasy legacy 苏维埃哈萨克斯坦的电影，1925-1991:一个令人不安的遗产

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Studies in Russian and Soviet Cinema Pub Date : 2021-08-27 DOI: 10.1080/17503132.2021.1970389

Stephen M. Norris

{"title":"The cinema of Soviet Kazakhstan, 1925-1991: an uneasy legacy","authors":"Stephen M. Norris","doi":"10.1080/17503132.2021.1970389","DOIUrl":"https://doi.org/10.1080/17503132.2021.1970389","url":null,"abstract":"researched case study, but is this book, considered as a whole, greater than the sum of its parts? Kelly’s case studies prove in exhaustive detail what we have long known: for all the Soviet film bureaucracy’s claims to centralised control over every stage of the production, it never really functioned that way. Production was messy, convoluted and unpredictable; as difficult as it was for some not-very-rebellious filmmakers to function, there was still plenty of space for subversive work. Jamie Miller’s and Maria Belodubrovskaya’s studies of filmmaking in the Stalin era have demonstrated that very well, in much less detail than Kelly provides, but with much greater attention to developing an analytical framework that allows readers to better understand the ‘big picture’. Of course, the period under consideration in Soviet art house, the Brezhnev era, has been understudied compared to others, but not to the extent that it appears to be here. While Kelly pays careful attention to all Russian language sources, she does not seem to be interested in engaging with what scholars outside Russia have written, beyond merely listing their books in her voluminous notes, where they tend to be buried. I was particularly surprised by the failure to engage intellectually with Josephine Woll’s Real images, for example, because like Kelly, Woll was also interested in framing the long 1960s aesthetically, and some of their work overlaps, not specifically, but conceptually. And some important and potentially relevant work is just absent, such as Tony Shaw’s detailed analysis of the production history of The Blue Bird (a disastrous Lenfilm & Twentieth-Century Fox coproduction that pops up several times) in the Journal of Cold War Studies nearly a decade ago. Some readers of SRSC will likely take issue with all or part of my assessment, seeing the cornucopia of new details in this book about Lenfilm’s operations as more than compensating for the lack of a real thesis or sustained analysis. Unfortunately, it must also be noted that Oxford University Press has obviously pinched pennies in the production: cramped type, poor quality paper, drab cover art, low contrast reproductions and no bibliography. Shortcomings aside, Soviet art house is still a major monograph written by a leading scholar at one of the world’s greatest universities – and published by its very own press. It certainly deserves a more fitting presentation.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"15 1","pages":"260 - 262"},"PeriodicalIF":0.1,"publicationDate":"2021-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41620862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Romancing the Reds: early encounters with Soviet cinema in India 浪漫红军：早期在印度与苏联电影相遇

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Studies in Russian and Soviet Cinema Pub Date : 2021-08-26 DOI: 10.1080/17503132.2021.1968568

Binayak Bhattacharya

引用次数: 0

The conflict of points of view in screenplay narrative: A Fragment of the Empire by Ekaterina Vinogradskaia and Fridrikh Ermler 剧本叙事中的观点冲突：叶卡捷琳娜·维诺格拉德斯卡娅和弗里德里克·埃姆勒的《帝国的碎片》

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Studies in Russian and Soviet Cinema Pub Date : 2021-08-25 DOI: 10.1080/17503132.2021.1970391

Sergei Ogudov

引用次数: 0