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Film and Cultures of Memory
cover_saravi_pontes_4_1511_Layout 1 04.12.2015 07:31 Seite 1 4 SARAVI PONTES – Beiträge zur internationalen Hochschulkooperation und zum interkulturellen Band 4 Wissenschaftsaustausch Film and Cultures of Memory This book investigates the multiple interconnections between film and Christoph Vatter different cultures of memory, presenting discussions of, amongst other things, the representation of memory, rememberance and oblivion in films, and the role of film in the construction of collective memory. It Oleksandr Pronkevich is the result of a close cooperation between Saarland University (Saar - brücken, Germany) and Petro Mohyla Black Sea State University in (eds.) Mykolaiv (Ukraine) and unites contributions of German and Ukrainian scholars of various disciplines. Their papers invite the reader to discover different cultures of memory through case studies about Russia, Spain, USA, Cuba and Germany, and illustrate various approaches in analyzing the relationship of the medium film to (collective) memory and rememberance. y r o m e M f o s e r u t l u C d n a m l i F universaar Universitätsverlag des Saarlandes Saarland University Press Presses Universitaires de la Sarre SARAVI PONTES – Beiträge zur internationalen Hochschulkooperation und zum interkulturellen Wissenschaftsaustausch Band 4 Christoph Vatter, Oleksandr Pronkevich (eds.) Film and Cultures of Memory universaar Universitätsverlag des Saarlandes Saarland University Press Presses Universitaires de la Sarre © 2015 universaar Universitätsverlag des Saarlandes Saarland University -
War Memory Under the Leonid Brezhnev Regime 1965-1974
1 No One is Forgotten, Nothing is Forgotten: War Memory Under the Leonid Brezhnev Regime 1965-1974 By Yevgeniy Zilberman Adviser: Professor David S. Foglesong An Honors Thesis Submitted To The History Department of Rutgers University School of Arts and Sciences New Brunswick, NJ April, 2012 2 Table of Contents Acknowledgements Pg. 3 Introduction Pg. 5 1964-1967: Building the Cult Pg. 18 a) Forming the Narrative: Building the Plot and Effacing the Details Pg. 21 b) Consecrating the War: Ritual, Monument and Speech Pg. 24 c) Iconography at Work: Soviet War Poster Pg. 34 d) Digitizing the War: On the Cinema Front Pg. 44 1968-1970: Fascism Revived and the Battle for Peace Pg. 53 a) This Changes Everything: Czechoslovakia and its Significance Pg. 55 b) Anti-Fascism: Revanchism and Fear Pg. 59 c) Reviving Peace: The Peace Cult Pg. 71 1970-1974: Realizing Peace Pg. 83 a) Rehabilitating Germany Pg. 85 b) Cinema: Germany and the Second World War on the Film Screen Pg. 88 c) Developing Ostpolitik: War memory and the Foundations for Peace Pg. 95 d) Embracing Peace Pg. 102 Conclusion: Believing the War Cult Pg. 108 Bibliography Pg. 112 3 Acknowledgements Perhaps as a testament to my naivety, when I embarked upon my journey toward writing an honors thesis, I envisioned a leisurely and idyllic trek toward my objective. Instead, I found myself on a road mired with multiple peaks and valleys. The obstacles and impediments were plentiful and my limitations were numerous. Looking back now upon the path I traveled, I realize that I could not have accomplished anything without the assistance of a choice collection of individuals. -
Call Number DVD-5801 BARNET, Boris Shchedroe Leto
09 January 2020 SSEES DVDs Nos 5801-5900 Page 1 Call number DVD-5801 BARNET, Boris Shchedroe leto [The Generous Summer] [Bountiful Summer] Kievskaia kinostudiia khudozhestvennykh fil´mov, 1950; released 8 March 1951 Screenplay: Evgenii Pomeshchikov, Nikolai Dalekii Photography: Aleksei Mishurin Production design: Oleg Stepanenko, N. Iurov Music: German Zhukovskii Song lyrics: A. Malyshko Nazar Protsenko Nikolai Kriuchkov Vera Goroshko Nina Arkhipova Petr Sereda Mikhail Kuznetsov Oksana Podpruzhenko Marina Bebutova Ruban Viktor Dobrovol´skii Tesliuk Konstantin Sorokin Darka Muza Krepkogorskaia Kolodochka Evgenii Maksimov Prokopchuk Anton Dunaiskii Podpruzhenko Mikhail Vysotskii Zoological technician Alla Kazanskaia Ekaterina Matveevna Vera Kuznetsova Musii Antonovich Georgii Gumilevskii Dar´ia Kirillovna, his wife Tat´iana Barysheva 82 minutes In Russian with optional English subtitles DVD Region code Aspect ratio Languages Optional English subtitles Features Chapter selection Source Rare Films and More 09 January 2020 SSEES DVDs Nos 5801-5900 Page 2 Call number DVD-5802 BASOV, Vladimir Pavlovich Shchit i mech [Shield and Sword] Fil´m 1. Bez prava byt´ soboi [Film 1. Without the Right to be Yourself] Mosfil´m, Tvorcheskoe ob´´edinenie pisatelei i kinorabotnikov, with Defa, East Germany and Start, Poland, 1967; released 19 August 1968 AND Fil´m 2. Prikazano vyzhit´ [Film 2. Ordered to Survive] Mosfil´m, Tvorcheskoe ob´´edinenie pisatelei i kinorabotnikov, with Defa, East Germany and Start, Poland, 1967; released 19 August 1968 AND Shchit i mech [Shield and Sword] Fil´m 3. Obzhalovaniiu ne podlezhit [Film 3. Without the Right of Appeal] Mosfil´m, Tvorcheskoe ob´´edinenie pisatelei i kinorabotnikov, with Defa, East Germany and Start, Poland, 1967; released 2 September 1968 AND Shchit i mech [Shield and Sword] Fil´m 4. -
Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions
Alexander Fedorov Soviet science fiction movies in the mirror of film criticism and viewers’ opinions Moscow, 2021 Fedorov A.V. Soviet science fiction movies in the mirror of film criticism and viewers’ opinions. Moscow: Information for all, 2021. 162 p. The monograph provides a wide panorama of the opinions of film critics and viewers about Soviet movies of the fantastic genre of different years. For university students, graduate students, teachers, teachers, a wide audience interested in science fiction. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 1 Table of Contents Introduction …………………………………………………………………………………………………………………………3 1. Soviet science fiction in the mirror of the opinions of film critics and viewers ………………………… 4 2. "The Mystery of Two Oceans": a novel and its adaptation ………………………………………………….. 117 3. "Amphibian Man": a novel and its adaptation ………………………………………………………………….. 122 3. "Hyperboloid of Engineer Garin": a novel and its adaptation …………………………………………….. 126 4. Soviet science fiction at the turn of the 1950s — 1960s and its American screen transformations……………………………………………………………………………………………………………… 130 Conclusion …………………………………………………………………………………………………………………….… 136 Filmography (Soviet fiction Sc-Fi films: 1919—1991) ……………………………………………………………. 138 About the author …………………………………………………………………………………………………………….. 150 References……………………………………………………………….……………………………………………………….. 155 2 Introduction This monograph attempts to provide a broad panorama of Soviet science fiction films (including television ones) in the mirror of -
The Moral Vertical in Russian Cinema Female Pilots, Flight Attendants, Cosmonauts and Aliens — Åsne Ø
Department of Language and Culture The Moral Vertical in Russian Cinema Female Pilots, Flight Attendants, Cosmonauts and Aliens — Åsne Ø. Høgetveit A dissertation for the degree of Philosophiae Doctor – January 2019 The front page illustration is a collage of film posters: Aelita (Protazanov 1924) design by Israil’ Bograd (1927), Letchiki (unknown designer, film directed by Raizman 1935), Eshche raz pro liubov’ (Natanson 1968) design by Miron Luk’ianov, Belka i Strelka. Zvezdnye sobaki (unknown designer, film directed by Evlannikova and Ushakov 2010). “… every valorization is a verticalization…” Gaston Bachelard (1988: 11) The Moral Vertical in Russian Cinema Note on transliteration and translation. When transliterating Russian names and words in the dissertation I have used ALA-LC Romanization tables for Slavic Alphabets, without the two-letter tie characters (so that ц = ts, ю = iu, я = ia) and some of the diacritics (so that ё = e, й = i, э = e). Exceptions are made in the cases where there are other established ways of transliterating a Russian name, such as ‘Leo Tolstoy’, rather than ‘Lev Tolstoi’. Names and words are transliterated from Cyrillic to Latin in the text, while the Cyrillic alphabet is used in the footnotes. The original quotation is referred to in the footnotes in the cases where I have translated quotations from Russian language into English in the text. Note on illustrations. All the illustrations are screenshots from the respective films, taken from online streaming sites. iii The Moral Vertical in Russian Cinema Acknowledgements The goal of a PhD is to write and defend a dissertation. There are many people that deserve to be thanked, as I could not have done this without them. -
Mediaobrazovanie) Media Education (M Ediaobrazovanie
Media Education (Mediaobrazovanie) Has been issued since 2005. ISSN 1994–4160. E–ISSN 1994–4195 2020, 60(1). Issued 4 times a year EDITORIAL BOARD Alexander Fedorov (Editor in Chief ), Prof., Ed.D., Rostov State University of Economics (Russia) Imre Szíjártó (Deputy Editor– in– Chief), PhD., Prof., Eszterházy Károly Fõiskola, Department of Film and Media Studies. Eger (Hungary) Ben Bachmair, Ph.D., Prof. i.r. Kassel University (Germany), Honorary Prof. of University of London (UK) Oleg Baranov, Ph.D., Prof., former Prof. of Tver State University Elena Bondarenko, Ph.D., docent of Russian Institute of Cinematography (VGIK), Moscow (Russia) David Buckingham, Ph.D., Prof., Loughborough University (United Kingdom) Emma Camarero, Ph.D., Department of Communication Studies, Universidad Loyola Andalucía (Spain) Irina Chelysheva, Ph.D., Assoc. Prof., Anton Chekhov Taganrog Institute (Russia) Alexei Demidov, head of ICO “Information for All”, Moscow (Russia) Svetlana Gudilina, Ph.D., Russian Academy of Education, Moscow (Russia) Tessa Jolls, President and CEO, Center for Media Literacy (USA) Nikolai Khilko, Ph.D., Omsk State University (Russia) Natalia Kirillova, Ph.D., Prof., Ural State University, Yekaterinburg (Russia) Sergei Korkonosenko, Ph.D., Prof., faculty of journalism, St– Petersburg State University (Russia) Alexander Korochensky, Ph.D., Prof., faculty of journalism, Belgorod State University (Russia) W. James Potter, Ph.D., Prof., University of California at Santa Barbara (USA) Robyn Quin, Ph.D., Prof., Curtin University, Bentley, WA (Australia) Alexander Sharikov, Ph.D., Prof. The Higher School of Economics, Moscow (Russia) Vladimir Sobkin, Acad., Ph.D., Prof., Head of Sociology Research Center, Moscow (Russia) Kathleen Tyner, Assoc. Prof., Department of Radio– Television– Film, The University of Texas at Austin (USA) Svetlana Urazova, PhD., Assoc. -
Russian Cinema: a Very Short Story
Zhurnal ministerstva narodnogo prosveshcheniya, 2018, 5(2) Copyright © 2018 by Academic Publishing House Researcher s.r.o. Published in the Slovak Republic Zhurnal ministerstva narodnogo prosveshcheniya Has been issued since 2014. E-ISSN: 2413-7294 2018, 5(2): 82-97 DOI: 10.13187/zhmnp.2018.2.82 www.ejournal18.com Russian Cinema: A Very Short Story Alexander Fedorov a , a Rostov State University of Economics, Russian Federation Abstract The article about main lines of russian feature film history: from 1898 to modern times. The history of Russian cinema goes back more than a century, it knew the stages of rise and fall, ideological repression and complete creative freedom. This controversial history was studied by both Russian and foreign scientists. Of course, Soviet and Western scientists studied Soviet cinema from different ideological positions. Soviet filmmakers were generally active in supporting socialist realism in cinema, while Western scholars, on the contrary, rejected this method and paid great attention to the Soviet film avant-garde of the 1920s. After the collapse of the Soviet Union, the situation changed: russian and foreign film historians began to study cinema in a similar methodological manner, focusing on both ideological and socio-cultural aspects of the cinematographic process. Keywords: history, film, movie, cinema, USSR, Russia, film historians, film studies. 1. Introduction Birth of the Russian "Great Mute" (1898–1917). It is known that the French brought the movies to Russia. It was at the beginning of 1896. However, many Russian photographers were able to quickly learn a new craft. Already in 1898, documentary plots were shot not only by foreign, but also by Russian operators. -
Text and Context of Mikhail Bulgakov's the White Guard
Arms against a Sea of Troubles: Text and Context of Mikhail Bulgakov’s The White Guard Oleksandr ZABIRKO Research Assistant Institute of Slavic Studies Universität Regensburg, Regensburg (DE) [email protected] Abstract This article focuses on the representation of historical events in literary texts by pointing at the tension between their factual and fictional elements. The fable and the setting of Mikhail Bulgakov’s novel The White Guard and his novel-based play The Days of the Turbins serve as examples. Almost one hundred years after its first (incomplete) publication, Bulgakov’s novel remains an object of heated debates and is a pivot point for a broad range of current historical, ideological, and cultural clashes between Ukraine and Russia. Against this background, the sophisticated form of Bulgakov’s narratives and the author’s cult status encourage the reader to consider his works both as historical testimonies and poetic prophecies. More importantly, the historical contextualization of The White Guard and The Days of the Turbins goes far beyond their narrated time and the events of the year 1918: it also includes the ideology of smenovekhovstvo, the dramatic changes in Soviet politics of korenizatsiya and the self-identification of the intelligentsiya in the late Soviet era. Keywords: Mikhail Bulgakov, The White Guard, The Days of the Turbins, Russian Civil War, smenovekhovstvo, korenizatsiya Résumé Cet article est consacré à la représentation d’événements historiques dans des textes littéraires en soulignant la tension entre leurs éléments factuels et fictifs. La fable et le cadre du roman de Mikhaïl Boulgakov La garde blanche et de sa pièce de théâtre Les journées des Turbins servent ici d’exemples. -
White Movement Played an Important Role in the Russian History of the XX Century
ALEXANDER FEDOROV The White Movement Image in the Mirror of the Russian and Western Screen FEDOROV, A. THE WHITE MOVEMENT IMAGE IN THE MIRROR OF THE RUSSIAN AND WESTERN SCREEN. MOSCOW: ICO “INFORMATION FOR ALL”. 2016. 88 P. COPYRIGHT © 2016 BY ALEXANDER FEDOROV [email protected] ALL RIGHT RESERVED. 10 9 8 7 6 5 4 2 1 FEDOROV, ALEXANDER. 1954-. THE WHITE MOVEMENT IMAGE IN THE MIRROR OF THE RUSSIAN AND WESTERN SCREEN /ALEXANDER FEDOROV. INCLUDES BIBLIOGRAPHICAL REFERENCES. 1. WHITE MOVEMENT. 2. CIVIL WAR. 3. FILM STUDIES. 4. CINEMA. 5. FILM. 6. MASS MEDIA. 7. SCREEN. 8. IDEOLOGY. 9. ENEMY. 10. USSR. 11. RUSSIA. 12. MEDIA LITERACY. 13. MEDIA STUDIES. 14. FILM STUDY. 15. WESTERN CINEMA. What is the White Movement image in the mirror of the Soviet, Russian and Western screen? What about the main stereotypes? The author of this book tries to analyze the films’ trends and ideology. 2 Contents Introduction 4 1. The image of the White movement in the Soviet feature cinema 8 (1931-1991) 1.1. The image of the White movement in the Soviet films of 1931-1955 8 1.2 The image of the White movement in the Soviet cinema of 1956-1989 21 2. The image of the White movement in the Russian feature cinema 45 at the present stage (1992-2015) 2.1. The image of the White movement in the Russian cinema 45 of the 1990s - 2000s 3. The image of the White movement in the Western feature cinema 56 (1931-2015) 3.1. The image of the White movement in the Western feature cinema 56 of the 1930s - 1940s 3.2. -
Soviet Cinema of the Sixties
W&M ScholarWorks Arts & Sciences Articles Arts and Sciences 2018 The Unknown New Wave: Soviet Cinema of the Sixties Alexander V. Prokhorov College of William & Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/aspubs Part of the Modern Languages Commons, and the Slavic Languages and Societies Commons Recommended Citation Prokhorov, Alexander V., The Unknown New Wave: Soviet Cinema of the Sixties (2018). Cinema of the Thaw retrospective. https://scholarworks.wm.edu/aspubs/873 This Article is brought to you for free and open access by the Arts and Sciences at W&M ScholarWorks. It has been accepted for inclusion in Arts & Sciences Articles by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. 2 22 de mai a 3 de jun CINEMA 1 e A CAIXA é uma empresa pública brasileira que prima pelo respeito à diversidade, e mantém comitês internos atuantes para promover entre os seus empregados campanhas, programas e ações voltados para disseminar ideias, conhecimentos e atitudes de respeito e tolerância à diversidade de gênero, raça, orientação sexual e todas as demais diferenças que caracterizam a sociedade. A CAIXA também é uma das principais patrocinadoras da cultura brasileira, e destina, anualmente, mais de R$ 80 milhões de seu orçamento para patrocínio a projetos nas suas unidades da CAIXA Cultural além de outros espaços, com ênfase para exposições, peças de teatro, espetáculos de dança, shows, cinema, festivais de teatro e dança e artesanato brasileiro. Os projetos patrocinados são selecionados via edital público, uma opção da CAIXA para tornar mais democrática e acessível a participação de produtores e artistas de todo o país. -
Opinions of Film Critics and Viewers
Alexander Fedorov 100 most popular Soviet television movies and TV series: opinions of film critics and viewers Moscow, 2021 Fedorov A.V. 100 most popular Soviet television movies and TV series: opinions of film critics and viewers. Moscow: "Information for all", 2021. 144 p. What does the list of the hundred most popular Soviet television films and TV series look like? How did the press and viewers evaluate and rate these films? In this monograph, for the first time, an attempt is made to give a panorama of the hundred most popular Soviet television films and serials in the mirror of the opinions of film critics, film critics and viewers. The monograph is intended for high school teachers, students, graduate students, researchers, film critics, film experts, journalists, as well as for a circle of readers who are interested in the problems of cinema, film criticism and film sociology. Reviewer: Professor M.P. Thselyh. © Alexander Fedorov, 2021. 2 TABLE OF CONTENTS Introduction ………………………………….................................................................................... 4 100 most popular Soviet television movies and TV series: opinions of film critics and viewers ……………………………........................................................................................... 5 Interview on the release of the book "One Thousand and One Highest Grossing Soviet Movie: Opinions of Film Critics and Viewers"…………………………………………………………….. 119 List of "100 most popular Soviet television films and TV series.......................................... 125 About -
Or Soviet Orientalism in Films About Central Asia 1955- 1970
IBN HALDUN UNIVERSITY ALLIANCE OF CIVILIZATION INSTITUTE DEPARTMENT CIVILIZATION STUDIES MA THESIS ‘THE EAST IS A DELICATE MATTER’ OR SOVIET ORIENTALISM IN FILMS ABOUT CENTRAL ASIA 1955- 1970 ELVIRA KULIEVA JUNE 2018 ONAY SAYFASI Bu tez tarafımızca okunmuş olup kapsam ve nitelik açısından, Medeniyet Araştırmaları alanında Yüksek Lisans Derecesini alabilmek için yeterli olduğuna karar verilmiştir. Tez Jürisi Üyeleri: KANAATİ İMZA (Unvanı Adı ve Soyadı) Dr. Öğr. Üyesi Nagihan HALİLOĞLU (Tez Danışmanı) Dr. Öğr. Üyesi İbrahim Vehbi BAYSAN Dr. Öğr. Üyesi Zeynep Kevser ŞEREFOĞLU DANIŞ Bu tezin İbn Haldun Üniversitesi Medeniyetler İttifaki Enstitüsü tarafından konulan tüm standartlara uygun şekilde yazıldığı teyit edilmiştir. Tarih Mühür/İmza AKADEMİK DÜRÜSTLÜK BEYANI Bu tezin yazılmasında bilimsel ahlâk kurallarına uyulduğu, başkalarının eserlerinden yararlanılması durumunda bilimsel normlara uygun olarak atıfta bulunulduğu, kullanılan verilerde herhangi bir tahrifat yapılmadığı, tezin herhangi bir kısmının bu üniversiteye veya başka bir üniversitedeki başka bir tez çalışması olarak sunulmadığını beyan ederim. Adı Soyadı: ELVIRA KULIEVA İmza: ABSTRACT ‘THE EAST IS A DELICATE MATTER’ OR SOVIET ORIENTALISM IN FILMS ABOUT CENTRAL ASIA 1955-1970 KULIEVA, ELVIRA M.A. in Civilization Studies Thesis Advisor: Dr. Nagihan HALİLOĞLU June 2018, 89 pages From the day modernity was instilled with the invention of motion picture, cinema has become a crucial instrument in the construction of identity and the development of the common sense of belonging. The issue of the Soviet representation of its own Orient, namely central Asia and its inhabitants via the ‘most important art’ as was emphasized by Vladimir Lenin, till this day has been significantly neglected within academia as a valuable source of research.