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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. -
May 2021 $3.95 Northwest Chess May 2021, Volume 75-05 Issue 880 on the Front Cover: Renaissance Chess Set
orthwes N t C h e s s May 2021 $3.95 Northwest Chess May 2021, Volume 75-05 Issue 880 On the front cover: Renaissance Chess Set. Photo credit: Jeffrey Roland. ISSN Publication 0146-6941 Published monthly by the Northwest Chess Board. To see the games online in this issue click: On the back cover: Jeffrey Roland on April 7, 2018 in downtown Boise. http://www.nwchess.com/articles/games/published/NWC_2021_ Published_Games_cb.htm#202105 Photo credit: Alex Machin. POSTMASTER: Send address changes to the Office of Record: Northwest Chess c/o Orlov Chess Academy 4174 148th Ave NE, Submissions Building I, Suite M, Redmond, WA 98052-5164. Submissions of games (PGN format is preferable for games), Periodicals Postage Paid at Seattle, WA stories, photos, art, and other original chess-related content USPS periodicals postage permit number (0422-390) are encouraged! Multiple submissions are acceptable; please indicate if material is non-exclusive. All submissions are NWC Staff subject to editing or revision. Send via U.S. Mail to: Editor: Jeffrey Roland, [email protected] Jeffrey Roland, NWC Editor Games Editor: Ralph Dubisch, 1514 S. Longmont Ave. [email protected] Boise, Idaho 83706-3732 Publisher: Duane Polich, or via e-mail to: [email protected] [email protected] Business Manager: Eric Holcomb, [email protected] Chesstoons: Board Representatives Chess cartoons drawn by local artist Brian Berger, Aniruddha Barua, Eric Holcomb, of West Linn, Oregon. Alex Machin, Duane Polich, Ralph Dubisch, Jeffrey Roland, Josh Sinanan, Wilson Gibbins. Judged Best Magazine/Newsletter for 2009 and 2014-2020 Entire contents ©2021 by Northwest Chess. -
Северное Сияние Polar Lights
PPOLAROLAR LLIGHTSIGHTS ССЕВЕРНОЕЕВЕРНОЕ ССИЯНИЕИЯНИЕ The First International I Международный Arctic кинофестиваль Film Festival стран Арктики Government of the Murmansk Region Правительство Мурманской области Culture Institution POLAR LIGHTS УК «Северное сияние» with the support of при поддержке Ministry of Foreign Affairs of the Russian Federation Министерства иностранных дел РФ the Ministry of Culture of the Russian Federation Министерства культуры РФ 2010 May 24-30 24 - 30 мая 2010 Murmansk Мурманск Dear friends! Дорогие друзья! On the 25th of May, 2010 the International Film Festival 25 мая 2010 года в Мурманске, впервые в истории “Polar Lights” will have its start for the first time in the города, открывается международный кинофестиваль, Murmansk history. получивший название «Северное сияние». For almost 100 years Murmansk has been and is still the Без малого сто лет Мурманск был и остается северным northern outpost of Russia, the city of fishers and sailors. форпостом России, городом рыбаков и моряков. Отсюда Long ago brave explorers of the Arctic were leaving this city уходили в дальние плаванья бесстрашные исследователи for far sea goings, the Northern Sea Route has its start here Арктики, здесь начинается Северный морской путь, а and today we witness the city on the Kola Bay shore that may сегодня, на наших глазах, город на берегу Кольского залива turn into a cinematographic capital of the Russian Arctic. может стать кинематографической столицей российской Within these last spring days the recognized film masters Арктики. from different countries will gather here, new films will be В последние дни весны здесь соберутся признанные shown, master classes and creative disputes will be held. мастера кино из разных стран мира, будут показаны новые Our region has now a good possibility to approve itself in its киноленты, пройдут мастер-классы и творческие дискуссии. -
Chess Fever (1925) Shakhmatnaya Goryachka
Chess Fever (1925) Shakhmatnaya Goryachka Sunday 21 March 2021 Music By: John Sweeney In answer to what might be your first two questions— The good news: as with the Netflix sensation The Queen’s Gambit (2020), you don’t need to understand chess to love Chess Fever (1925). The better news: Chess Fever is hilarious. The Russian silent cinema isn’t particularly known for its comedies: epic sweep and dazzling montage, yes, pratfalls, not so much. And yet. Sergei Eisenstein was a cartoonist, and you can see how a talent for caricature comes through in his work, with every character a grotesque, carefully cast for their facial features and body types, and augmented with costume and makeup. And less-celebrated filmmakers Boris Barnet and Fedor Ozep, who both cameo in Chess Fever, were very successful working in a lighter vein, using the techniques of montage in a playful fashion, which those techniques proved very well suited to. If you think about it, even the theory behind all that dialectical cutting had a humorous quality, with Comrade Kuleshov noting that you could make a closeup of an actor look grandfatherly or just hungry depending on whether you cut to a baby or a bowl of soup. And you could cut from a man waving in front of the Kremlin to another man waving with the Eiffel Tower behind him, and the audience would be forced to accept they were waving at each other. These were funny guys, at least some of the time. Vsevolod Pudovkin & Nikolai Shpikovsky, the team behind Chess Fever, went on to direct serious, weighty classics of their native cinema: Mother (1926) and Storm over Asia (1928) in the former’s case, Bread (1930) in the latter’s. -
Russian Film
University of Pittsburgh Department of Slavic Languages and Literatures Russian 2638: Lumière to Lenin, Russian and Soviet Cinema 1896-1934 Vladimir Padunov Fall Semester 2019 427 CL Wednesdays 2:30—5:25 624-5713 CL 317 e-mail: [email protected] Office Hours: Tuesdays 2:00—3:00, Wednesdays 12:00—1:00, Thursdays 3:00―4:00, and by appointment I. REQUIRED TEXTS: Leyda, Jay. Kino: A History of the Russian and Soviet Film. 3d ed. Princeton: Princeton UP, 1983. Stites, Richard. Russian popular culture: Entertainment and society since 1900. London and NY: Cambridge UP, 1992. Taylor, Richard and Ian Christie, eds. The Film Factory: Russian and Soviet Cinema in Documents, 1896-1939. Trans. Richard Taylor. London and NY: Routledge, 1994. Tsivian, Yuri. Early Cinema in Russia and Its Cultural Reception. Trans. Alan Bodger with a Forward by Tom Gunning. Ed. Richard Taylor. Chicago: U of Chicago P, 1998. II. STRONGLY RECOMMENDED TEXTS: Beumers, Birgit. A History of Russian Cinema. London and NY: Berg Publishers, 2008. Cavendish, Philip. The Men with the Movie Camera: The Poetics of Visual Style in Soviet Avant-Garde Cinema of the 1920s. London: Berghahn Books, 2013. Kireeva. Marianna, dir. An Anthology of Russian Cinema: DVD 7741 1908-1918: The Winter Garden 1918-1925: Overcrowding DVD 7742 1925-1929: Of Men and Monuments 1929-1933: Bleak House Morley, Rachel. Performing Femininity: Woman as Performer in Early Russian Cinema. London: I.B. Tauris, 2017. III. BIBLIOGRAPHY ON RUSSO-SOVIET CINEMA: Bibliographic information (crudely divided by subject, time period, and specific cultural producer) on the history of Russo-Soviet cinema can be located on the web: https://www.rusfilm.pitt.edu/bibliography/ The list is more than a decade out-of-date and requires serious up-dating and maintenance. -
Soviet Montage Cinema As Propaganda and Political Rhetoric
Soviet Montage Cinema as Propaganda and Political Rhetoric Michael Russell Doctor of Philosophy The University of Edinburgh 2009 This thesis is dedicated to the memory of Professor Dietrich Scheunemann. ii Propaganda that stimulates thinking, in no matter what field, is useful to the cause of the oppressed. Bertolt Brecht, 1935. iii Abstract Most previous studies of Soviet montage cinema have concentrated on its aesthetic and technical aspects; however, montage cinema was essentially a rhetoric rather than an aesthetic of cinema. This thesis presents a com- parative study of the leading montage film-makers – Kuleshov, Pudovkin, Eisenstein and Vertov – comparing and contrasting the differing methods by which they used cinema to exert a rhetorical effect on the spectator for the purposes of political propaganda. The definitions of propaganda in general use in the study of Soviet montage cinema are too narrowly restrictive and a more nuanced definition is clearly needed. Furthermore, the role of the spectator in constituting the rhetorical effectivity of a montage film has been neglected; a psychoanalytic model of the way in which the filmic text can trigger a change in the spectator’s psyche is required. Moreover, the ideology of the Soviet montage films is generally assumed to exist only in their content, whereas in classical cinema ideology also operates at the level of the enunciation of the filmic text itself. The extent to which this is also true for Soviet montage cinema should be investigated. I have analysed the interaction between montage films and their specta- tors from multiple perspectives, using several distinct but complementary theoretical approaches, including recent theories of propaganda, a psycho- analytic model of rhetoric, Lacanian psychoanalysis and the theory of the system of the suture, and Peircean semiotics. -
NWC 2021-05.Indd
orthwes N t C h e s s May 2021 $3.95 Northwest Chess May 2021, Volume 75-05 Issue 880 On the front cover: Renaissance Chess Set. Photo credit: Jeffrey Roland. ISSN Publication 0146-6941 Published monthly by the Northwest Chess Board. To see the games online in this issue click: On the back cover: Jeffrey Roland on April 7, 2018 in downtown Boise. http://www.nwchess.com/articles/games/published/NWC_2021_ Published_Games_cb.htm#202105 Photo credit: Alex Machin. POSTMASTER: Send address changes to the Office of Record: Northwest Chess c/o Orlov Chess Academy 4174 148th Ave NE, Submissions Building I, Suite M, Redmond, WA 98052-5164. Submissions of games (PGN format is preferable for games), Periodicals Postage Paid at Seattle, WA stories, photos, art, and other original chess-related content USPS periodicals postage permit number (0422-390) are encouraged! Multiple submissions are acceptable; please indicate if material is non-exclusive. All submissions are NWC Staff subject to editing or revision. Send via U.S. Mail to: Editor: Jeffrey Roland, [email protected] Jeffrey Roland, NWC Editor Games Editor: Ralph Dubisch, 1514 S. Longmont Ave. [email protected] Boise, Idaho 83706-3732 Publisher: Duane Polich, or via e-mail to: [email protected] [email protected] Business Manager: Eric Holcomb, [email protected] Chesstoons: Board Representatives Chess cartoons drawn by local artist Brian Berger, Aniruddha Barua, Eric Holcomb, of West Linn, Oregon. Alex Machin, Duane Polich, Ralph Dubisch, Jeffrey Roland, Josh Sinanan, Wilson Gibbins. Judged Best Magazine/Newsletter for 2009 and 2014-2020 Entire contents ©2021 by Northwest Chess. -
Kinocuban: the Significance of Soviet and East European Cinemas for the Cuban Moving
KINOCUBAN The Significance of Soviet and East European Cinemas for The Cuban Moving Image Author: Vladimir Alexander Smith Mesa Degree Doctor of Philosophy University College London November 2011 1 I, Vladimir Alexander Smith Mesa, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract KinoCuban: The Significance of Soviet and East European Cinemas for the Cuban Moving Image examines a piece of evidence that has been misunderstood in the existing body of Cuban film studies. The first revolutionary legislation concerning the arts was the creation of the ICAIC in 1959, a fact that demonstrates the importance of cinema for the new cultural project. This thesis argues that the moving image was radically affected by the proclamation of the socialist character of the Revolution on 16 April 1961. What was it that the distant audiovisual culture, film theories and practices of the Soviet-bloc offered Cubans? Is it not the case that Soviet-bloc cinemas had an influence upon the shaping of the Cuban moving image, if one takes into consideration the very few films co-produced in 30 years? It should be stressed that during this period, the moving image was the direct or indirect effect of the different waves that arrived in Cuba from ‘the other’ Europe, which were born at the same time as the first films that were co-produced in the 1960s, particularly from the unique experience of Mikhail Kalatozov’s masterpiece Soy Cuba. The present study reveals that the most important outcome from that influence was the conceptualisation of the cinematic discourse of the Revolution, so well represented in ICAIC and its socialist films of commitment. -
Daily Iowan (Iowa City, Iowa), 1942-06-30
" JUNE 28, 1942 , '== Indians Drub Cooler , . ChilDx Behind MUnu, IOWA: l"btl,y ~ la 11 to 5 taJt PGI"Uoa See Story on Pqe • THE DAILY IOWAN \OIIay. ·, , 10Yia City's Morning Newspaper . Housewife FIVE CENTS THE AS800lATIP ••111 IOWA CITY, IOWA TUESDAY, JUNE 30, 1942 VOLUME XLD NUMBER 239 · .... • ment should be mllortant rtant factor in ~auses fatigUe," In summarlzinc an the fieid. "To ,wn when YOU 'y room, by the *** *** *** *** ** * *** * * * on the ground nerous trips up uirs, 19, the "curved , is again em· lee, Ihe "side to Nazi Tank Attacks' -Sma hed Before Kur k 'Pping has been :ti ve than the •• ~ thod which reo JAP MOVES IN ALEUTIANS REGARDED AS AnEMPT TO SEPARATE ALLIES 'rgy. WlndoWi with a sponc. Fighting Becomes More Violent Matruh Abandoned as British )u~ege. J o v E ,. T . UN . I ·0 N • Crl ..... I"'>' ..; 'arch for h'h As Sevastopol Defenders Yield F II Back 10 AII~Oul Defenses .11 step·ladder. for maklq nes from at•• MO ow, T\l sday (AP )-'T'h e .-eel army mashed WAve after Report New Lines Formed 40 to 50 Mile East r c lothes alao wllve of' German tanle attacks in the KUl'sle sector, north of Khar· ~ d out on the Of Matruh as New Zealand Troops a.nd time el· kov, yesterday but wa fore d to yield ome ground to reinforced German forces in th battle for besieged Seyastopol, the Russian Rush Into Heavy Battle • midnight communiqu 'aid today. sts have mad. The hig h command indicated the German offensive in both A TRO (A P) Trt'at Britain' cl PrillI'm), reinfor{' i1 by the Industrial these sectors waR increasing in violence, espeein By arollnd the United tat plane. -
Inside the Film Factory: New Approaches to Russian and Soviet Cinema
Inside the Film Factory SOVIET CINEMA General editors: Richard Taylor, University College of Swansea Ian Christie The Film Factory Russian and Soviet cinema in documents 1896—1939 ed. Richard Taylor and Ian Christie INSIDE THE FILM FACTORY New approaches to Russian and Soviet Cinema ed. Richard Taylor and Ian Christie EISENSTEIN REDISCOVERED ed. Ian Christie and Richard Taylor Stalinism and Soviet Cinema ed Richard Taylor and Derek Spring Early Cinema in Russia and its Cultural Reception Yuri Tsivian Inside the Film Factory New approaches to Russian and Soviet cinema Edited by Richard Taylor and Ian Christie London and New York First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 The collection as a whole © 1991 Routledge; individual chapters © 1991 the respective contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Inside the film factory: new approaches to Russian and Soviet cinema. 1. Soviet cinema films, history I. -
Russian and Soviet Cinema in the Age of Revolution, 1917 – 1932
Russian and Soviet Cinema in the Age of Revolution, 1917 – 1932 David Gariff Notes to accompany the film series Revolutionary Rising: Soviet Film Vanguard presented at the National Gallery of Art and American Film Institute Silver Theatre October 13 through November 20, 2017 nga.gov/film afi.com/silver Fridrikh Ermler, Fragment of an Empire, 1929 (Amkino Corporation /Photofest) Front: Dziga Vertov, Man with a Movie Camera, 1929 (Photofest) Of all the arts, for us, the cinema is the most important. — Attributed to Vladimir Lenin There are two kinds of art, bourgeois art and prole- tarian art. The first is an attempt to compensate for unsatisfied desires. The second is a preparation for social change . — Sergei Eisenstein We discover the souls of the machine, we are in love with the worker at his bench, we are in love with the farmer on his tractor, the engineer on his locomo- tive. We bring creative joy into every mechanical activity. We make peace between man and the machine. We educate the new man. — Dziga Vertov Vsevolod Pudovkin, Mother, 1926 (Photofest) 1 Russian and Soviet Cinema in the Age of Revolution, 1917 – 1932 he decade of the 1920s in Russian film is considered a golden age. Directors such as Vsevolod Pudovkin T(1893 – 1953), Aleksandr Dovzhenko (1894 – 1956), Dziga Vertov (1896 – 1954), and Sergei Eisenstein (1898 – 1948) contributed to a period of intense cultural achievement follow- ing the 1917 Bolshevik Revolution. As with their counterparts in the other arts, including Wassily Kandinsky (1866 – 1944), Kazimir Malevich (1878 – 1935), Natalia Goncharova (1881 – 1962), Vladimir Tatlin (1885 – 1953), Antoine Pevsner (1886 – 1962), Naum Gabo (1890 – 1977), El Lissitzky (1890 – 1941), Alek- sandr Rodchenko (1891 – 1956), and Vladimir Mayakovsky (1893 – 1930), their desire to create a revolutionary art based on freedom and radical formal innovation was symptomatic of and in harmony with the goals of the new Russian state. -
Multimedia Library Feature Films: Russian, Ukrainian, Or Central Asian
MULTIMEDIA LIBRARY FEATURE FILMS: RUSSIAN, UKRAINIAN, OR CENTRAL ASIAN FILMS WITH ENGLISH SUBTITLES.......................................................................................1 Russian/Ukrainian......................................................................................................1 Central Asian…………………………………………………………………………………..25 FILMS WITHOUT ENGLISH SUBTITLES……………………………………………………………27 Russian………………………………………………………………………………………….27 FILMS IN ENGLISH…………………………………………………………………………………….34 FILMS WITH ENGLISH SUBTITLES RUSSIAN/UKRAINIAN: ADAM'S RIB 1992 77 min. (VHS) Director: Vyacheslav Krishtofovich Cast: I. Churikova, S. Ryabova, M. Golubkina, E.Bogdanova This film portrays 3 generations of Russian women, living together in a typically tiny apartment and together enduring problems with men, finances and a changing society. AELITA, THE QUEEN OF MARS Silent Film: 1924 111 min. (DVD) Director: Yakov Protazanov One of the most remarkable discoveries of the Soviet silent cinema, Aelita is a stunning big-budget science fiction spectacle. Enormous futuristic sets and radical constructionist costumes were designed by Alexandra Exter to enhance this story of romance, comedy and danger. A Moscow engineer designs a spaceship and travels to Mars to meet the woman who haunts his dreams. ALADDIN'S MAGIC LAMP 1966 84 min. (DVD) Director: Boris Rytsarev Cast: Boris Bystrov, Dodo Chogovadze, Sarry Karryev A Russian version of the Arabic fairy tale. ALEXANDER NEVSKY 1938 110 min. (VHS) Director: Sergei Eisenstein Classic cinematic rendition of the historical tale of one of Russia's great heroes, the 13th-century warrior- prince. Sergei Prokofiev's score has been recorded by the St. Petersburg Philharmonic for this 1994 video release. AMPHIBIAN MAN(CHELOVEK-AMFIBIIA) 1962 97 min. (DVD x2) Directors: Gennadii Kazanskii and Vladimir Chebotarev Cast: Vladimir Korenev, Anastasiia Vertinskaia, Mikhail Kozakov, Nikolai Simonov, Vladlen Davydov, Aleksandr Smiranin, Iurii Medvedev, Georgii Tusuzov Based on a story by Russian science fiction author Aleksandr Beliaev.