Studies in Russian and Soviet Cinema最新文献_第9页

Soviet art house: Lenfilm studio under Brezhnev 苏联艺术之家：勃列日涅夫旗下的Lenfilm工作室

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Studies in Russian and Soviet Cinema Pub Date : 2021-08-25 DOI: 10.1080/17503132.2021.1970392

D. Youngblood

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The fairy-tale film goes to war: defence of the motherland in Aleksandr Rou’s Kashchei the Immortal 童话电影走向战争：亚历山大·鲁的《神仙喀什》中的祖国保卫战

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Studies in Russian and Soviet Cinema Pub Date : 2021-08-25 DOI: 10.1080/17503132.2021.1967554

Deborah Allison

{"title":"The fairy-tale film goes to war: defence of the motherland in Aleksandr Rou’s Kashchei the Immortal","authors":"Deborah Allison","doi":"10.1080/17503132.2021.1967554","DOIUrl":"https://doi.org/10.1080/17503132.2021.1967554","url":null,"abstract":"ABSTRACT Conceived and shot in the Soviet Union during the Great Patriotic War (WWII), Kashchei the Immortal (1945) offers a superlative illustration of just how effectively the time-honoured characters and narrative structures of folklore and fairy tale can be adapted to propagandist purpose. In using fairy tale as a nationalistic metaphor for war and conquest, Kashchei built upon longstanding international precedent, even as the particular time and place of its production shaped its ideology in crucial ways. Kashchei’s creators employed fairy-tale allegory to present a rousing parable of invasion and defence, which served as an urgent call to arms while proposing a roadmap for an avowedly righteous Soviet triumph. The film also reinforced the view that the perpetuation of shared national folk tradition cements community strength and spirit, and that folk-mindedness, and the patriotism it must surely inspire, is an indomitable weapon against foreign threat. As I demonstrate through a detailed close textual analysis, the film’s rich symbolism and expressive mise-en-scène are integral to the construction of a reassuring, motivational and easy-to-understand message that fully supported the Soviet Union’s broader wartime rhetoric.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"15 1","pages":"206 - 226"},"PeriodicalIF":0.1,"publicationDate":"2021-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46193726","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}

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Little Big and the viral Gesamtkunstwerk 小胖和流行的艺术艺术

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Studies in Russian and Soviet Cinema Pub Date : 2021-08-11 DOI: 10.1080/17503132.2021.1962668

L. Patyk

{"title":"Little Big and the viral Gesamtkunstwerk","authors":"L. Patyk","doi":"10.1080/17503132.2021.1962668","DOIUrl":"https://doi.org/10.1080/17503132.2021.1962668","url":null,"abstract":"ABSTRACT In an interview, Il’ia Prusikin, the founding member of the punk-rave group Little Big, confessed that he has always loved to ‘confound expectations’. The creative evolution of Little Big has succeeded in confounding expectations, if not astonishing. Initially dubbed ‘the most disgusting group in Russia’ for their sexually suggestive and grotesque music videos such as ‘Big Dick’ and ‘Give me Your Money’, Little Big’s recent cycles ‘Antipositive’ and ‘Uno’ are distinguished by their densely comedic audiovisuality that harkens back to Russian modernist theatrical (notably Vsevolod Meyerhold) and gag cinema traditions. The audio, by contrast, consists of irresistible dance tracks and lyrics that combine largely nonsensical polyglot phrases with animal sounds for the ultimate lyrical realisation of Aleksei Kruchenykh’s zaum. Little Big’s signature complex of comic audio-visual devices is a means of what the Russian formalist critic Viktor Shklovskii referred to as ostranenie (defamiliarization): it surprises and cognitively challenges the viewer, and ultimately coalesces into a distinctive posthuman aesthetics. From ‘Skibidi’ to ‘Tacos’, Little Big deploys these devices as a form of soft stiob for the purpose of parody of the music video tradition, but principally to create a universalist and therefore viral style that transcends national borders.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"15 1","pages":"227 - 248"},"PeriodicalIF":0.1,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59967023","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}

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Editorial 编辑

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Studies in Russian and Soviet Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503132.2021.1913920

B. Beumers

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‘Fluctuations of life’: mutability and impermanence in Aleksandr Petrov’s animated films “生命的波动”：亚历山大·彼得罗夫动画电影中的多变与无常

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Studies in Russian and Soviet Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503132.2021.1903240

Mihaela Mihailova

{"title":"‘Fluctuations of life’: mutability and impermanence in Aleksandr Petrov’s animated films","authors":"Mihaela Mihailova","doi":"10.1080/17503132.2021.1903240","DOIUrl":"https://doi.org/10.1080/17503132.2021.1903240","url":null,"abstract":"ABSTRACT This article focuses on Russian animation director Aleksandr Petrov’s short films, created with the rarely employed, labour-intensive paint-on-glass technique. Using an animation studies approach, this article explores the formal features of Petrov’s signature aesthetic, often described as ‘painting brought to life’. In particular, this discussion of his oeuvre focuses on the ways in which his animation technique facilitates the complex interplay between visual metamorphosis, spatial mutability and temporal ellipsis characteristic of his films. Through a close reading of relevant sequences from a range of works (including both fictional and promotional shorts), this article investigates how the constant metamorphic flow of the director’s imagery engenders what Petrov himself has described as ‘the sense of instability and fluctuation of life’ that permeates his animation. In doing so, it aims to suggest that paint-on-glass films – and under-camera animation more broadly – can challenge and complicate existing assumptions about animation and destabilise traditional hierarchies in film theory discourse.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"15 1","pages":"139 - 152"},"PeriodicalIF":0.1,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503132.2021.1903240","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45481778","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 aesthetics of justice: recognition and the Holocaust in Soviet films of the Thaw 正义美学：苏联电影中的承认与大屠杀

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Studies in Russian and Soviet Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503132.2021.1904115

Violeta Davoliūtė

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Sergei Eisenstein, Aleksandr Ptushko and Valentin Kadochnikov: on the history of the Soviet fantasy film 谢尔盖·爱森斯坦，亚历山大·普图什科和瓦伦丁·卡多奇尼科夫:苏联奇幻电影的历史

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Studies in Russian and Soviet Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503132.2021.1904707

Nina Sputnitskaia

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Electricity within: Islam, pre-Islamic traditions and secular forms of belief in contemporary Kyrgyz cinema 电流:伊斯兰教，前伊斯兰传统和世俗形式的信仰在当代吉尔吉斯电影

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Studies in Russian and Soviet Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503132.2021.1906009

Elena I. Monastireva-Ansdell

{"title":"Electricity within: Islam, pre-Islamic traditions and secular forms of belief in contemporary Kyrgyz cinema","authors":"Elena I. Monastireva-Ansdell","doi":"10.1080/17503132.2021.1906009","DOIUrl":"https://doi.org/10.1080/17503132.2021.1906009","url":null,"abstract":"ABSTRACT Although post-Soviet Central Asian societies self-identify as Muslim, spiritual identity is a highly contested subject in the region and one influenced by Russian imperialism and Soviet atheist ideology. In Kyrgyzstan, a transnational Islamic movement, the Tablighi Jama’at Network (TJN) calling for a purification of Islamic practices, competes not only with the practitioners of ‘Soviet traditional Islam’ deeply rooted in Kyrgyz ethnic customs and traditional culture, but also with the proponents of the pre-Islamic beliefs of Tengriism, all against the background of deeply-ingrained Soviet notions of modernity. On the basis of a close analysis of two Kyrygz films, Ernest Abdyzhaparov’s Saratan. Village Authorities (2004) and Aktan Arym Kubat’s Centaur (2017), this article examines negotiations of spiritual identity in contemporary Kyrgyz cinema at the intersection of global and local Islam, pre-Islamic traditions, and Soviet-imparted spiritual secularism as a complex process navigated by the Soviet generation of filmmakers who are apprehensive of Islamic global movements and emerging dominant religious narratives as an ‘alien’ ideology aiming to suppress Central Asians’ cultural diversity and authenticity. Responding to Russo-Soviet ideological imperialism and Islamic fundamentalism, these artists negotiate their culture’s multiplicity and ambivalence while drawing on regional diversity and nomadic roots.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"15 1","pages":"153 - 173"},"PeriodicalIF":0.1,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503132.2021.1906009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43881265","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}

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Images of urban space in constructing the Cold War enemy: American skyscrapers in Soviet animation 构建冷战敌人的城市空间图像:苏联动画中的美国摩天大楼

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Studies in Russian and Soviet Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503132.2021.1905792

O. Riabov, T. Riabova

引用次数: 1

Eisenstein in Fergana: from avant-garde to national form 费尔干纳的爱森斯坦：从先锋到民族

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Studies in Russian and Soviet Cinema Pub Date : 2021-01-02 DOI: 10.1080/17503132.2020.1870795

Nariman Skakov

{"title":"Eisenstein in Fergana: from avant-garde to national form","authors":"Nariman Skakov","doi":"10.1080/17503132.2020.1870795","DOIUrl":"https://doi.org/10.1080/17503132.2020.1870795","url":null,"abstract":"ABSTRACT Sergei Eisenstein’s work on The Great Fergana Canal in 1939 and his subsequent wartime evacuation to Kazakhstan gave him the opportunity to reflect on Stalin’s famous definition of proletarian culture as ‘national in form, socialist in content’. The modernist cult of difficult forms endured a radical reformulation through the 1930s. The insistence on clarity and accessibility, fuelled by the emergence of the Socialist Realist style, made aesthetic intricacy unacceptable and dramatically reshaped acceptable practices of perception and expression. But the ‘strangeness’ of the Orient allowed the modernist valorisation of defamiliarized forms to continue its existence in new ways. The ‘national in form, socialist in content’ formula provided a context in which formal strangeness could re-emerge as a sanctioned entity. Formal experimentation was possible only in the national context, and only if singular socialist content predominated. As such, national form was the last sanctuary of modernist strangeness. By utilising this formula, the late modernist Eisenstein concerned himself with creating national building blocks for the socialist edifice, which was, in turn, intended to evolve into a supranational construct.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"15 1","pages":"23 - 38"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503132.2020.1870795","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42089495","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