Soviet Silent Cinema Part Ii
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On the Mechanics of Power
Originalveröffentlichung in: Beyer, Andreas ; Jollet, Étienne ; Rath, Markus (Hrsgg.): Wiederholung. Répétition : Wiederkehr, Variation und Übersetzung in der Kunst, Berlin 2018, S. 127-146 (Passagen / Passages ; 56) On the Mechanics of Power Repetition in Pudovkin and Eisenstein Henry Keazor “L’inepuisable dans 1’atlas Mnemosyne, ne designe rien d’autre que la capacite a monter constamment, a demonter et a remonter, des corpus d’images heterogenes afin de creer des configurations inedites et d’y saisir certaines affinites inaperques ou certains conflits a 1’oeuvre. Ceia signifie qu’on appauvrit la notion meme de montage a ne la considerer que sous Tangle d’un procede ‘artistique’. Bien au-dela de tout procede, le montage est une procedure capable de mettre en mouvement de nouveaux ‘espaces de pensee’.” Georges Didi-Huberman, Atlas ou le gai savoir inquiet, Paris, 2011, p. 281 "Expressive" versus "Didactic"? Repetition appears to be a phenomenon that triggers ambiguous reactions: In his book Telling It Again and Again. Repetition in Literature and Film, the author Bruce F. Kawin refers on the one hand to positions which conceive repetition as something positive and even pleasant. Thus, his book opens with an epigraph taken from Sig mund Freud’s Beyond the Pleasure Principle-. “Repetition, the re-experiencing of some thing identical, is clearly in itself a source of pleasure.”1 Although Freud here speaks of “something identical”, he obviously does not mean something entirely identical since he, like Kawin, is thinking of repetition, but not of identically repeated pro cesses (“Every day the sun comes up, stays up, goes down [...]: we do not find this cycle boring. -
The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
Sergei Eisenstein on the Visual Arts
IMT School for Advanced Studies, Lucca Lucca, Italy Art History as Janus: Sergei Eisenstein on the Visual Arts PhD Program in Analysis and Management of Cultural Heritage XXXth cycle By Hanin Hannouch 2017 The dissertation of Hanin Hannouch is approved Program Coordinator: Emanuele Pellegrini, IMT School for Advanced Studies Advisor: Linda Bertelli, IMT School for Advanced Studies Co-Advisor: Alessia Cervini, Universita© degli Studi di Messina The dissertation of Hanin Hannouch has been reviewed by: Prof. Pietro Montani, Sapienza Universita di Roma Dr. Marie Rebecchi, University of Paris III Sorbonne Nouvelle 3 IMT School for Advanced Studies, Lucca 2017 ART HISTORY AS JANUS: SERGEI EISENSTEIN ON THE VISUAL ARTS CONTENTS LIST OF IMAGES ACKNOWLEDGEMENTS VITA AND PUBLICATIONS ABSTRACT INTRODUCTION Ausblick: Cinematic Paintings- Case Studies I ± VALENTIN SEROV 1 Yermolova 1.1 Mirror in the set-up 1.2 Dynamic light 2 Seeing intraconceptual movement 3 Art history answers back 3.1 Vanishing points and diagonals II- EL GRECO 4 The Expulsion of the Moneylenders from the Temple 4.1 Unecstatic 4.2 Mechanical repetition 5 The Resurrection from the Grave 5.1 Format 5.2 Theme 5.3 Pathos and ecstasy 6 An art historical transformation 7 Storm over Toledo 7.1 Level of subjectivity 7.2 28 mm painting 8 Art historical comparison between Storm over Toledo and View and Plan of Toledo III- GIOVANNI BATTISTA PIRANESI 9 Carcere with Staircase 9.1 Independent value 9.2 Biographical change 9.3 Accumulation of perspective 10 Art History Looks at The Dark Prison -
Beumers, Birgit (Ed.)
Beumers, Birgit (ed.). A Companion to Russian Cinema, The Wiley Blackwell Companions to National Cinemas, Wiley Blackwell, Chichester and Malden, MA, 2016. xvi + 656 pp. Illustrations. Notes. References. Appendix. Bibliography. Index. $195: £156 (hardback); $156.99: £140.99 (e-book). PART of The Wiley Blackwell Companions to National Cinemas series, the much anticipated A Companion to Russian Cinema is a rich and capacious volume. Edited by Birgit Beumers, one of the field’s most knowledgeable and indefatigable scholars, it comprises 25 newly commissioned chapters, written by leading experts and academics working in Russian cinema studies independently or at various American, British, Canadian, French, Hungarian and Russian institutions. In her helpful Introduction, which provides a concise survey of the state of the field and outlines the Companion’s scope and structure, Beumers acknowledges that attempting to provide a comprehensive account of the whole history of Russian cinema in the Companion would have been ‘ambitiously [to] aim at the impossible’ (p. 1). Instead, therefore, she elects to focus on the ‘task of “filling gaps”’ (p. 4), by including contributions that explore some of the significant films, periods, filmmakers and genres that have been ‘traditionally neglected in film histories and scholarship’ (p. 2). Divided into five thematically organized parts, the Companion thus seeks to provide ‘five alternative histories of Russian cinema’ (p. 16). Accordingly, within each part the chapters are arranged in a loosely chronological order, to convey a ‘sense of progression’ (p. 4). While each of the five parts does not cover the complete one-hundred-and-ten-year period since Russian feature filmmaking began, the Companion as a whole does broadly achieve this. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991. -
Soviet Montage (1924-1930) 1917- Russian Revolution October 1917 Take Year to Develop National Film Industry Private Production
Soviet Montage (1924-1930) 1917- Russian Revolution October 1917 Take year to develop national film industry Private production companies operating in MOSCOW and ST. PETERSBURG Mid-10’s slow melodramas/acting bravura Private companies resist nationalization- don’t supply gov. theaters, etc. 1918- July- State Commission of Education- restricts sale of film stock- private companies hoard stock. Under these harsh conditions a small number of film makers begin SOVIET MONTAGE MOVEMENT Dziga Vertove at 20 in charge of GOV newsreels.- Lev Kuleshov- begins teaching at new STATE SCHOOL OF CINEMA ART Kuleshov and pupils begin writing essays on film art/theory. 1920- Sergie Eisenstien (Engineer)(works at propaganda delivery in civil war), starts workers theatre-1920 Vsevolod Pudovkin (Chemist)- acting debut in play put on by STATE FILM SCHOOL. ALL inspired by DW Griffith- Intolerance/BirthofANation (Fairbanks and Pickford)- films that kept circulating because of small Russian output. None of MONTAGE school where important film makers of PRE-REVOLUTION. 1921- NEP-New Economic Policy in 1921 release film stock. MORE PRIVATE PRODUCTION 1922-Gov tries to control industry through central distribution company, GOSKINO in 1922- Newreels series called KINO-PRAVDA starts 1922- Vertov 1922 “Of all the arts, for us the cinema is the most important” Lenin- 1923 Red Imps first big success. 1924-Kuleshovs class presents Mr. West in the Land of the Bolsheviks 1925 Kuleshov- The Death Ray 1925 Eisenstien- Strike 1925 Eisenstien Potemkin 1927- Soviet film output income tops foreign imports. 1927- Aleksandrov, Eisenstein- October 1928 –Pudovkin Storm over Asia Down play of character psychology as cause, focuses on social causes forces…often not one single protagonist, collective heroes/ social groups Avoided well know actors, uses no professionals- uses TYPAGE (type casting) By end of 20’s 4 films apiece. -
Aleksandra Khokhlova
Aleksandra Khokhlova Also Known As: Aleksandra Sergeevna Khokhlova, Aleksandra Botkina Lived: November 4, 1897 - August 22, 1985 Worked as: acting teacher, assistant director, co-director, directing teacher, director, film actress, writer Worked In: Russia by Ana Olenina Today Aleksandra Khokhlova is remembered as the star actress in films directed by Lev Kuleshov in the 1920s and 1930s. Indeed, at the peak of her career she was at the epicenter of the Soviet avant-garde, an icon of the experimental acting that matched the style of revolutionary montage cinema. Looking back at his life, Kuleshov wrote: “Nearly all that I have done in film directing, in teaching, and in life is connected to her [Khokhlova] in terms of ideas and art practice” (1946, 162). Yet, Khokhlova was much more than Kuleshov’s wife and muse as in her own right she was a talented author, actress, and film director, an artist in formation long before she met Kuleshov. Growing up in an affluent intellectual family, Aleksandra would have had many inspiring artistic encounters. Her maternal grandfather, the merchant Pavel Tretyakov, founder of the Tretyakov Gallery in Moscow, was a philanthropist and patron who purchased and exhibited masterpieces of Russian Romanticism, Realism, and Symbolism. Aleksandra’s parents’ St. Petersburg home was a prestigious art salon and significant painters, actors, and musicians were family friends. Portraits of Aleksandra as a young girl were painted by such eminent artists as Valentin Serov and Filipp Maliavin. Aleksandra’s father, the doctor Sergei Botkin, an art connoisseur and collector, cultivated ties to the World of Arts circle–the creators of the Ballets Russes. -
WORLD FILM LOCATIONS MOSCOW Edited by Birgit Beumers
WORLD FILM LOCATIONS MOSCOW Edited by Birgit Beumers WORLD FILM LOCATIONS MOSCOW Edited by Birgit Beumers First Published in the UK in 2014 by All rights reserved. No part of this Intellect Books, The Mill, Parnall Road, publication may be reproduced, stored Fishponds, Bristol, BS16 3JG, UK in a retrieval system, or transmitted, in any form or by any means, electronic, First Published in the USA in 2014 mechanical, photocopying, recording, by Intellect Books, The University of or otherwise, without written consent. Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA A Catalogue record for this book is available from the British Library Copyright ©2014 Intellect Ltd World Film Locations Series Cover photo: Night Watch (2004) ISSN: 2045-9009 Bazelevs Production / Channel One eISSN: 2045-9017 Russia / The Kobal Collection World Film Locations Copy Editor: Emma Rhys ISBN: 978-1-78320-196-9 Typesetting: Jo Amner ePDF ISBN: 978-1-78320-267-6 ePub ISBN: 978-1-78320-268-3 Printed and bound by Bell & Bain Limited, Glasgow WORLD FILM LOCATIONS MOSCOW editor Birgit Beumers series editor & design Gabriel Solomons contributors José Alaniz Erin Alpert Nadja Berkovich Vincent Bohlinger Rad Borislavov Vitaly Chernetsky Frederick Corney Chip Crane Sergey Dobrynin Greg Dolgopolov Joshua First Rimma Garn Ian Garner Tim Harte Jamie Miller Jeremy Morris Stephen M. Norris Sasha Razor John A. Riley Sasha Rindisbacher Tom Roberts Peter Rollberg Larissa Rudova Emily Schuckman Matthews Sasha Senderovich Giuliano Vivaldi location photography Birgit Beumers -
Contemporary Ukrainian Cinema Into the European Context (2014-2019)
How to Cite: Alforova, Z., Marchenko, S., Shevchuk, Y., Kotlyar, S., & Honcharuk, S. (2021). Contemporary Ukrainian cinema into the European context (2014-2019). Linguistics and Culture Review, 5(S2), 274-283. https://doi.org/10.37028/lingcure.v5nS2.1345 Contemporary Ukrainian Cinema into the European Context (2014-2019) Zoya Alforova Kharkiv State Academy of Culture, Kharkiv, Ukraine Serhii Marchenko Kyiv National I.K. Karpenko-Kary Theatre, Cinema and Television University, Kyiv, Ukraine Yuliia Shevchuk Kyiv National University of Culture and Arts, Kyiv, Ukraine Svitlana Kotlyar Kyiv National University of Culture and Arts, Kyiv, Ukraine Serhii Honcharuk Kyiv National University of Culture and Arts, Kyiv, Ukraine Abstract---The relevance of the study is conditioned by the fact that the development of Ukrainian art, including cinema, is becoming more popular every year. Since 2014, the Ukrainian film industry has been rapidly developing, and has also shown good results at European and other international film festivals. The purpose of the study is to analyses the position of Ukrainian cinema in the recent historical period, as well as to analyses the preconditions that were created for its development and introduction to the European cinema market. The methodological basis of this study is the combination of theoretical methods of cognition. Methods of data analysis and synthesis, dialectical method, historical and periodization method are used. In the course of writing this paper, the studies of Ukrainian and foreign researchers regarding the subject were studied and analyzed. The establishment and current state of the film industry are investigated. The preconditions for the development of Ukrainian cinema as well as factors that influenced its entrance to the European market are considered. -
Volodymyr Vynnychenko and the Early Ukrainian Decadent Film (1917–1918)
УДК 008:791.43.01 O. Kirillova volodymyr vynnychenKo and the early uKrainian decadent film (1917–1918) The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in rela- tion to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence. Keywords: decadent film, fin de sciècle, cultural diffusion, cultural split, ethical symbolism, filming, editing. The early Ukranian decadent film as an integral screening, «The Devil’s Staircase», filmed by a Rus part of the trend of decadence in the world cinema sian producer Georgiy Azagarov in 1917 (released can be regarded as a specific problem for research in February 1918) put the central conflict in the area ers because of its diffusion within the cinematogra of circus actors. This film had been considered des phy of Russian Empire. Ukrainian subjects in the perately lost. The second “Black Panther” was taken cinema of 1910s, on the one hand, had traditionally into production by Sygyzmund Kryzhaniv’sky on been related to «ethnographical topics» (to begin “Ukrainfil’m” – in 1918. Unfortunately, the produc with the one of the earliest Russian silents «Taras tion had not been finished due to the regular change Bul’ba», 1909, after Mykola Hohol’), but, on the of government in Ukraine. Finally, the third one, other hand, had been represented partly in Russian “Die Schwarze Pantherin” filmed in Germany by film, though totally diffused in its cultural contexts. -
No List of Political Assets
Slavistische Beiträge ∙ Band 248 (eBook - Digi20-Retro) Jerry T.Heil No List of Political Assets The Collaboration of Iurii Olesha and Abram Room on "Strogii Iunosha" [A Strict Youth (1936)] Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access 00050392 Sl a v is t ic h e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 248 VERLAG OTTO SAGNER MÜNCHEN Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access 00050392 JERRY T. HEIL NO LIST OF POLITICAL ASSETS: The Collaboration of lurii Olesha and Abram Room “ Strogii lunosha” [A Strict Youth (1936)] VERLAG OTTO SAGNER • MÜNCHEN 1989 Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access ISBN 3-87690-449-8 © Verlag Otto Sagner, München 1989 Abteilung der Firma Kubon & Sagner, München Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access Acknowledgments The research that led to this essay (and others) was made possible by a grmt from the International Research and Exchanges Board (IREX)f Princeton, New Jersey, an agency partially funded by the United States' N a tia ia l Endowment fo r the H um anities, W ashington, D.C. -
The Emergence of Film Culture
INTRODUCTION : The Emergence of Film Culture Malte Hagener When film became a technological reality in the late nineteenth century, its future shape and role was far from obvious. Discussions regarding the theoretical nature, the aesthetic function and the social role of cinema began as soon as commentators took note of the medium, but conceptualizations remained fluid for the first decades. It was not until the 1920s that knowledge about film and cinema was systematically, consistently and reflexively articulated, gathered and disseminated on a broader basis. Over the course of two decades, the 1920s and 1930s, institutions, practices and arguments arose which have been crucial for any serious engagement with cinema ever since. There are many aspects that can be said to have aided this ‘emergence of film culture’ in the interwar period: the beginnings of film festivals; the formation of canons; the point at which film became recognized as a subject of study at institutions of higher education; the consolidation of film criticism and archiving as serious occupations; and the recogni- tion accorded to the relevance of film history and film theory. Cinema as a discursive field of its own began to emerge slowly but steadily over the course of the 1920s. In the following decade across Europe, many film-related institutions and organizations were founded and achieved stability, such as archives, festivals and film institutes. The ‘emergence of film culture’ implies that the medium was starting to be taken seriously as an aesthetic object and social force, and this has to be taken into account when trying to understand the political, 2 Malte Hagener social and aesthetic modernity that came to dominate industrialized countries before the Second World War.