Wings Five Evenings Flying Asleep and Awake Beware of the Car Walking the Streets of Moscow

Total Page:16

File Type:pdf, Size:1020Kb

Wings Five Evenings Flying Asleep and Awake Beware of the Car Walking the Streets of Moscow 2014 AMHERST COLLEGE RUSSIAN DEPARTMENT GOOD OLD SOVIET CLASSICS WITH ENGLISH SUBTITLES. STIRN AUDITORIUM, AMHERST COLLEGE, 7 PM. SPRING Flying Asleep and Five evenings Th 1979 Awake Wings 4/17 1982 1966 Nikita Mikhalkov Fr Beware of the Car Fr 4/25 3/28 Roman Balayan Walking the Streets of Fr 1966 Larisa Shepitko The tangible world of an old 2/21 Eldar Ryazanov communal apartment in Moscow It is a tragicomedy about a man Moscow 1963 It is a fascinating and human Fr of the 1950’s is recreated who is in no way aggressive or 3/7 portrayal of a once-famous Georgiy Daneliya A comedy film noir about Soviet Robin Hood onscreen with an incredible embittered, but nothing makes fighter pilot and loyal Stalinist In this charming lyrical comedy, which also - a modest insurance agent who in his spare accuracy, capturing the flair of the him happy: his loving wife, his named Nadezhda Petrovna. appears as an unofficial tourist guide of the time - is engaged in theft of private cars of time. Alexander and Tamara, who young mistress, friends, or job. Now a 41-year-old provincial Russian capital, a young writer from Siberia major criminals. He sells the stolen cars and loved each other before the war He just cannot find a place where schoolmistress, she has so comes to Moscow and makes new friends. anonymously transfers the money to the separated them, meet here after he "belongs", and often acts like a internalized the military ideas Russian youngsters of the sixties emerge as the accounts of various orphanages. What will his many years. Through five evenings child. Meanwhile, he is now 40 of service and obedience that true heroes of this film as one day in their life is policeman friend do when he finds out? of dinners and arguments, two years old, and by the standards of she cannot adjust to life in meticulously portrayed in order to reveal that lonely people now try to convince society, should have already peacetime... Soviet youth too are interested in flirting, each other that both are doing accomplished "something" in life. learning English, and buying LP records. just fine....
Recommended publications
  • Social Condenser’ in Eldar Ryazanov’S Irony of Fate VOL
    ESSAY Soviet Bloc(k) Housing and the Self-Deprecating ‘Social Condenser’ in Eldar Ryazanov’s Irony of Fate VOL. 113 (MARCH 2021) BY LARA OLSZOWSKA A completely atypical story that could happen only and exclusively on New Year's Eve. – Eldar Ryazanov, Irony of Fate, 1976. Zhenya lives in apartment № 12 of unit 25 in the Third Builder Street, and so does Nadia, only that she lives in Leningrad, whereas Zhenya lives in Moscow. After a heavy drinking session at the bathhouse with friends on New Year’s Eve, Zhenya accidentally gets on a flight to Leningrad one of his friends had booked for himself. Still intoxicated on arrival, he gives his address to a taxi driver and arrives “home”. He lets himself into Nadia’s flat with his key – even their locks match – and falls asleep. When Nadia wakes him, the comical love story between the two takes center stage and the coincidence of their matching housing blocks seems to be little more than a funny storytelling device. Upon further examination it is far more significant. The misleading epigraph at the start of Eldar Ryazanov’s Irony of Fate quoted above links the ludicrous events that follow to the date on which they unfold. On New Year’s Day 1976, the film was first broadcast to television audiences across the Soviet Union, telling an extraordinary tale in a very ordinary place. This “atypical story” is not really a result of the magic of New Year’s Eve alone, but more so a product of its setting: a Soviet apartment in a Soviet housing block in a socialist city.
    [Show full text]
  • 9781474437257 Refocus The
    ReFocus: The Films of Andrei Tarkovsky 66616_Toymentsev.indd616_Toymentsev.indd i 112/01/212/01/21 111:211:21 AAMM ReFocus: The International Directors Series Series Editors: Robert Singer, Stefanie Van de Peer, and Gary D. Rhodes Board of advisors: Lizelle Bisschoff (University of Glasgow) Stephanie Hemelryck Donald (University of Lincoln) Anna Misiak (Falmouth University) Des O’Rawe (Queen’s University Belfast) ReFocus is a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of international film directors, from the celebrated to the ignored, in direct relationship to their respective culture—its myths, values, and historical precepts—and the broader parameters of international film history and theory. The series provides a forum for introducing a broad spectrum of directors, working in and establishing movements, trends, cycles, and genres including those historical, currently popular, or emergent, and in need of critical assessment or reassessment. It ignores no director who created a historical space—either in or outside of the studio system—beginning with the origins of cinema and up to the present. ReFocus brings these film directors to a new audience of scholars and general readers of Film Studies. Titles in the series include: ReFocus: The Films of Susanne Bier Edited by Missy Molloy, Mimi Nielsen, and Meryl Shriver-Rice ReFocus: The Films of Francis Veber Keith Corson ReFocus: The Films of Jia Zhangke Maureen Turim and Ying Xiao ReFocus: The Films of Xavier Dolan
    [Show full text]
  • 2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
    [Show full text]
  • 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
    [Show full text]
  • ANDREI KONCHALOVSKY È Nato a Mosca Nel
    ANDREI KONCHALOVSKY È nato a Mosca nel 1937, figlio dello scrittore Sergej Michalkov (il padre è autore del testo dell'inno nazionale russo) e della poetessa Natalija Koncaloskaja. Suo fratello è Nikita Mikhalkov. Bisnonno e nonno celebri pittori zaristi. Da giovane si afferma come pianista, anche se la sua grande passione è il cinema. Si iscrive alla VGIK, una delle migliori scuole di cinema del Paese, sotto la guida di Mikhail Romm, dove incontra Andrei Tarkovsky, con cui collabora come sceneggiatore (fa anche l'attore nel film “L’infanzia di Ivan”). Il 1966 è l’anno del suo debutto alla regia con “Il primo maestro”, tratto dal racconto di C. Ajtmatov e ambientato nel periodo post-rivoluzionario, nel sud della Russia. Dopo svariati problemi con la censura, il regista si dedica alla trasposizione cinematografica di opere letterarie. “Nido di Nobili” (1969), da Turgeney, e “Zio Vanja” (1970), da Cechov. Con “Romanza degli innamorati” (1974) e “Siberiade” (1978), storia drammatica della popolazione siberiana, torna ai temi contemporanei, attirando l'attenzione della critica europea e americana. Tra gli anni ’80 e i primi anni ’90, trasferitosi negli Stati Uniti, lavora a diverse opere tra cui “Maria’s Lovers” (1984), “A 30 secondi dalla fine” (1986), “Sky People” (1987), “Homer and Eddy” (1989), “Tango e Cash” (1991), “Il protezionista” (1992). Tornato in Russia dopo la caduta del comunismo, dirige “Asja e la gallina dalle uova d’oro”. Si dedica a grandi lavori come “L’Odissea”, con Armand Assante, “La casa dei matti” e “The Lion in the Winter”, con Glenn Close. Con il cortometraggio “Al buio” nel 2007 collabora con numerosi colleghi al film a episodi “A ciascuno il suo cinema”, dedicato a Federico Fellini per celebrare i 60 anni del Festival di Cannes.
    [Show full text]
  • Hofstra University Film Library Holdings
    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.
    [Show full text]
  • Le Virtù Di Un Vizio
    Ozio Le virtù di un vizio 1° maggio 13 giugno 2006 Prendi la posizione più comoda: seduto, sdraiato, raggomitolato, coricato Coricato sulla schiena, su un fianco, sulla pancia In poltrona, sul divano, sulla sedia a dondolo, sulla sedia a sdraio, sul pouf Sullamaca, se hai unamaca Sul letto, Edizioni Casagrande naturalmente, o dentro il letto Puoi anche metterti a testa in giù, in posizione yoga Col libro wwwedizionicasagrandecom capovolto, si capisce Italo Calvino, Se una notte d inverno un viaggiatore Ozio Le virtù di un vizio « Seduto pacificamente senza far nulla viene la primavera e lerba cresce da sola » Poesia zen Pensare allozio in un mondo dominato dallo stress e dallansia di ri- uscita può essere un lusso o forse una necessità In una società vo- tata alla produzione, il tempo libero è diventato un momento di ripo- so e svago, piccola fuga quotidiana dal Grande Stress In passato, lozio fu appannaggio quasi sempre dei ceti marginali: il sottoproletariato che viveva di espedienti e, allaltro estremo, la nobiltà che con piglio romantico scorrazzava per le strade dEuropa contemplando tramon- ti e amori leggiadri Lozio come condizione esistenziale di privazione per i primi o come flânerie, lusso e voluttà per i secondi Con lavvento della globalizzazione, lo stress da prestazione aumen- ta vertiginosamente Le nuove fruste si chiamano audience, obiettivi aziendali, controllo di qualità, outsourcing ecc La vita si fa apnea E così il tema dellozio ritorna in vogaTecniche di rilassamento, mas- saggi orientali, bagni termali, atmosfere
    [Show full text]
  • Carnival Night (1956) Tues 14 January 2020 by Eldar Ryazanov
    14 January 2020 Melodia! Discovering Musicals Cine Lumière Carnival Night (1956) Tues 14 January 2020 by Eldar Ryazanov Carnival Night is an enduring classic in Russia today. Released Whilst there is no barrier to enjoyment as modern viewers, it is shortly after Stalin’s death and in the early years of the so- hard for us to understand what such a film, made at such a called ‘Thaw Period’, the musical’s lighthearted, yet incisive delicate moment in history, truly meant. In the years following derision of bureaucracy is symptomatic of the massive political Stalin’s death on the 5th of March 1953, so-called ‘de- changes sweeping the USSR. Stalinisation’ had been secret and public mourning had been loud. It has been said that even Stalin’s victims wept. But, faced We’ve all heard about it. The speech that shocked the world. It with the reality of thousands of prisoners returning home from is a staple lesson in school history classes: most of us have sat Stalin’s gulags and the inevitable changes that was bound to half attentive at a desk, and listened to a teacher telling us bring, it was necessary to address what had until then been about Nikita Khrushchev’s denunciation speech, ‘On the Cult of unspoken. The ramifications of Kruschev’s speech were Personality and its Consequences’. Or, as it has come to be extreme. People were so shaken by the content they began known, Khrushchev’s ‘Secret Speech’. Delivered to the 20th committing suicide. March 1956 saw demonstrations in Congress of the Soviet Party on the 25th of February 1956, Georgia, furious at Stalin’s denunciation, Tbilisi began rioting Khrushchev denounced the cult of personality that had been and calling for an independent Georgia.
    [Show full text]
  • National Gallery of Art Summer 08 Film Program 4Th Street and Mailing Address Constitution 2000B South Avenue Nw Club Drive Washington, Dc Landover, Md 20785
    NATIONAL GALLERY OF ART SUMMER 08 FILM PROGRAM 4th Street and Mailing address Constitution 2000B South Avenue NW Club Drive Washington, DC Landover, MD 20785 ENVISIONING MICHELANGELO MANOEL RUSSIA: ANTONIONI: STANLEY DE OLIVEIRA, MOSFILM FROM THE AFGHANISTAN THE ITALIAN KUBRICK: PORTUGUESE STUDIO ARCHIVES ON FILM TREASURES TWO VIEWS MARVEL An ongoing program of classic cinema, documentary, avant-garde, and area premieres occurs each weekend in the National Gallery’s East Building Auditorium, 4th Street at Constitution Avenue NW. Films are shown in original format. Programs are free of charge but seating is on a fi rst-come, fi rst-seated basis. Doors open approximately 30 minutes before each show. Programs are subject to change. For current information, visit our Web site: www.nga.gov/programs/fi lm or call 202.842.6799. Jul 1 TUE 12:00 From the Archives Helen Frankenthaler — Toward a New Climate 4 FRI 12:00 Afghanistan on Film The Giant Buddhas 3:00 Event Glass: A Portrait of Philip in Twelve Parts 5 SAT 12:30 Envisioning Russia I Walk Through Moscow Streets 2:30 Envisioning Russia Jazzman 4:30 Event Glass: A Portrait of Philip in Twelve Parts 6 SUN 2:00 Envisioning Russia Uncle Vanya 4:30 Envisioning Russia The Ascent 8 TUE 12:00 From the Archives Helen Frankenthaler — Toward a New Climate 11 FRI 2:30 Envisioning Russia July Rain; Courier 12 SAT 4:30 Magic Lantern Show Victorian Transformations 13 SUN 5:00 Magic Lantern Show spirit of ‘76 15 TUE 12:00 From the Archives Helen Frankenthaler — Toward a New Climate 18 FRI 2:30 Afghanistan on Film The Kite Runner 19 SAT 2:00 Antonioni Michelangelo Antonioni (documentary) 4:30 Antonioni I vinti (The Vanquished) 20 SUN 4:30 Afghanistan on Film New Video Art from Afghanistan 22 TUE 12:00 From the Archives Helen Frankenthaler — Toward a New Climate 25 FRI 2:30 Antonioni La Signora senza camelie (Lady without Camellias) 26 SAT 1:30 Stanley Kubrick Dr.
    [Show full text]
  • Fashion Meets Socialism Fashion Industry in the Soviet Union After the Second World War
    jukka gronow and sergey zhuravlev Fashion Meets Socialism Fashion industry in the Soviet Union after the Second World War Studia Fennica Historica THE FINNISH LITERATURE SOCIETY (SKS) was founded in 1831 and has, from the very beginning, engaged in publishing operations. It nowadays publishes literature in the fields of ethnology and folkloristics, linguistics, literary research and cultural history. The first volume of the Studia Fennica series appeared in 1933. Since 1992, the series has been divided into three thematic subseries: Ethnologica, Folkloristica and Linguistica. Two additional subseries were formed in 2002, Historica and Litteraria. The subseries Anthropologica was formed in 2007. In addition to its publishing activities, the Finnish Literature Society maintains research activities and infrastructures, an archive containing folklore and literary collections, a research library and promotes Finnish literature abroad. STUDIA FENNICA EDITORIAL BOARD Pasi Ihalainen, Professor, University of Jyväskylä, Finland Timo Kaartinen, Title of Docent, Lecturer, University of Helsinki, Finland Taru Nordlund, Title of Docent, Lecturer, University of Helsinki, Finland Riikka Rossi, Title of Docent, Researcher, University of Helsinki, Finland Katriina Siivonen, Substitute Professor, University of Helsinki, Finland Lotte Tarkka, Professor, University of Helsinki, Finland Tuomas M. S. Lehtonen, Secretary General, Dr. Phil., Finnish Literature Society, Finland Tero Norkola, Publishing Director, Finnish Literature Society Maija Hakala, Secretary of the Board, Finnish Literature Society, Finland Editorial Office SKS P.O. Box 259 FI-00171 Helsinki www.finlit.fi J G S Z Fashion Meets Socialism Fashion industry in the Soviet Union after the Second World War Finnish Literature Society • SKS • Helsinki Studia Fennica Historica 20 The publication has undergone a peer review.
    [Show full text]
  • 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.
    [Show full text]
  • Love in the Age of Communism
    STOCKHOLMS UNIVERSITET MKI / Vt. 2006 Filmvetenskapliga institutionen Handledare: Anu Koivunen LOVE IN THE AGE OF COMMUNISM Soviet romantic comedy in the 1970s MK-uppsats framlagd av Julia Skott Titel: Love in the age of communism; Soviet romantic comedy in the 1970s Författare: Julia Skott Institution: Filmvetenskapliga institutionen, Stockholms universitet Handledare: Anu Koivunen Nivå: Magisterkurs 1 Framlagd: Vt. 2006 Abstract: The author discusses three Soviet comedies from the 1970s: Moskva slezam ne verit (Moscow Does Not Believe in Tears, Vladimir Menshov, 1979), Osenniy marafon (Autumn Marathon, Georgi Daneliya, 1979), and Ironiya Sudby, ili S lyogkim parom (Irony of Fate, Eldar Ryazanov, 1975), and how they relate to both conventions of romance and conventions of the mainstream traditions of the romantic comedy genre. The text explores the evolution of the genre and accompanying theoretic writings, and relates them to the Soviet films, focusing largely on the conventions that can be grouped under an idea of the romantic chronotope. The discussion includes the conventions of chance and fate, of the wrong partner, the happy ending, the temporary and carnevalesque nature of romance, multiple levels of discourse, and some aspects of gender, class and power. In addition, some attention is paid to the ways in which the films connect to specific genre cycles, such as screwball comedy and comedy of remarriage, and to the implications that a communist system may have on the possibilities of love and romance. The author argues that Soviet and Hollywood films share many conventions of romance, but for differing reasons. TABLE OF CONTENTS Introduction -------------------------------------------------------------- p. 1 Concepts; method; previous scholarship – p.
    [Show full text]