DOCSLIB.ORG

The Film Industry in the Russian Federation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Film Industry in the Russian Federation THE FILM INDUSTRY IN THE RUSSIAN FEDERATION November 2012 Set up in December 1992, the European Audiovisual Observatory’s mission is to gather and diffuse information on the audiovisual industry in Europe. The Observatory is a Euro pean public service body comprised of 39 member states and the European Union, represented by the European Commission. It operates within the legal framework of the Council of Europe and works alongside a number of partner and professional organisations from within the industry and with a network of correspondents. In addition to contributions to conferences, other major activities are the publication of a Yearbook, newsletters and reports, and the provision of information through the Observatory’s Internet site (http://www.obs.coe.int). The Observatory also makes available four free‑access databases, including LUMIERE on admissions to films released in Europe (http://lumiere.obs.coe.int) and KORDA on public support for film and audiovisual works in Europe (http://korda.obs.coe.int). Nevafilm was founded in 1992 and has a wide range of experience in the film industry. The group has modern sound and dubbing studios in Moscow and St. NEVAFILM Petersburg (Nevafilm Studios); is aleader on the Russian market in cinema design, film and digital cinema equipment supply and installation (Nevafilm Cinemas); became Russia’s first digital cinema laboratory for digital mastering and comprehensive DCP creation (Nevafilm Digital); distributes alternative A REPORT FOR THE content for digital screens (Nevafilm Emotion); has undertaken independent monitoring of the Russian cinema market in the cinema exhibition domain since EUROPEAN AUDIOVISUAL OBSERVATORY 2003, and is a regular partner of international research organizations providing data on the development of the Russian cinema market (Nevafilm Research). BY NEVAFILM THE FILM INDUSTRY IN THE RUSSIAN FEDERATION (2012 Edition) A report for the European Audiovisual Observatory by Nevafilm November 2012 The Film Industry in the Russian Federation Research by Nevafilm for the European Audiovisual Observatory. Director of Publication: Wolfgang Closs, Executive Director of the European Audiovisual Observatory Supervising Editor: André Lange (European Audiovisual Observatory) Study carried out by: Oleg Berezin, Igor Kallistov, Eleonora Kolyenen-Ivanova, Xenia Leontyeva, Svetlana Mudrova. Chief Editor: Xenia Leontyeva Translation, editing and proofreading of the English text: Eclectic Translations, [email protected], David Steele, Jim Barratt Publisher: European Audiovisual Observatory 76 Allee de la Robertsau – F – 67000 Strasbourg, France Tel.: +33(0)3 90 21 60 00, Fax: +33(0)3 90 21 60 19 E-mail: [email protected] URL: http://www.obs.coe.int Nevafilm Research: 33-2B Korablestroiteley Street, St. Petersburg, 199397, Russia Phone: +7 812 449 70 70, Fax: +7 812 352 69 69 “Tsvetnoy, 30” Business Center, office 307, bld.1 30, Tsvetnoy Boulevard, 127051, Moscow, Russian Federation Phone / Fax: +7 495 694 2615 E-mail: [email protected] Web: http://www.nevafilm.ru http://www.digitalcinema.ru The reference version of the report is the English version, published on the European Audiovisual Observatory website – www.obs.coe.int. The analyses presented in these articles are the authors’ own opinions and cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members or of the Council of Europe. Data compiled by external sources are quoted for the purpose of information. The authors of this report are unable to verify either their means of compilation or their pertinence. © European Audiovisual Observatory, November 2012. Table of contents INTRODUCTION ......................................................................................... 7 EXECUTIVE SUMMARY ................................................................................. 8 ABOUT THE RUSSIAN FEDERATION ............................................................ 13 CHAPTER 1 THE FILM INDUSTRY IN RUSSIA: INSTITUTIONAL FRAMEWORK .... 16 1.1 An overview of state policy governing the Russian film industry ..... 16 1.1.1 System of state support for cinema ................................................. 16 Transition to the market economy ........................................................ 16 The 1996 federal film law .................................................................... 17 Current state priorities ........................................................................ 18 State financing of film ......................................................................... 18 Evolution of state support to the Russian film industry in the decade 2002– 2012 ................................................................................................. 19 State support for film festivals ............................................................. 22 Centralized importation of film stock ..................................................... 23 State priorities in 2012 ........................................................................ 23 1.1.2 The activities of federal authorities in cinema ................................... 24 Federal executive agency and Ministry of Culture ................................... 24 Department of Cinematography and Modernization Programmes .............. 24 The Russian Cinema Fund .................................................................... 25 Method for determining which companies are eligible for state support ..... 25 Repayment (recoupment) terms ........................................................... 28 Other provisions ................................................................................. 29 Subjects of social significance .............................................................. 29 Optimization of Cinema Fund operations in 2013 .................................... 30 Executive office .................................................................................. 31 Council on the Development of the Russian Film Industry ........................ 31 State Film Fund .................................................................................. 32 Legislative committees and commissions on the arts ............................... 32 1.1.3 Activities of regional and local authorities in film ............................... 32 Scope for local initiative ...................................................................... 33 Location support for foreign film crews .................................................. 33 Powers of municipal authorities in relation to the film industry ................. 34 1.1.4 Review of the regulatory acts governing cinematographic activity ....... 35 The 1996 Federal Film Law and the definition of a ‘Russian film’ ............... 35 Film rights ......................................................................................... 36 Tax concessions and exemptions .......................................................... 36 Copyright fees ................................................................................... 37 Legal basis for federal budget subsidies................................................. 37 CAIS box office information system ...................................................... 38 Protection of children .......................................................................... 38 Russian film quotas ............................................................................ 39 1.2 The system of professional film education in Russia ........................ 39 Universities........................................................................................ 39 Educational programmes, film schools, and courses ................................ 41 1.3 Activities of state-owned cinematographic organizations ................ 43 3 State film studios ................................................................................ 43 Public–private partnerships .................................................................. 45 Development of state facilities .............................................................. 45 Consolidation of film archives ............................................................... 46 Research and development .................................................................. 46 CHAPTER 2 FILM INDUSTRY: AN OVERVIEW ................................................. 48 CHAPTER 3 DESCRIPTION AND ANALYSIS OF THE VARIOUS BRANCHES OF THE RUSSIAN FILM INDUSTRY .......................................................................... 57 3.1 Film production in Russia: producers and production companies .... 57 3.1.1 Industry structure .......................................................................... 57 Methodological aspects ........................................................................ 57 General state of the market ................................................................. 57 State support ..................................................................................... 63 3.1.2 Principal trends ............................................................................. 67 3.1.3 Players ......................................................................................... 68 Ranking of Russian film production companies by number of films ............ 68 Classification of Russian film production companies ................................. 69 Principal players in Russian film production with films in theatrical distribution........................................................................................
Load more

Recommended publications
  • Lausanne 2016: Long Jump W
    Women's Long Jump Diamond Race 25.08.2016 Start list Long Jump Time: 21:00 Records Order Athlete Nat NR PB SB 1 Blessing OKAGBARE-IGHOTEGUONOR NGR 7.12 7.00 6.73 WR 7.52 Galina CHISTYAKOVA URS Leningrad 11.06.88 2 Christabel NETTEY CAN 6.99 6.99 6.75 AR 7.52 Galina CHISTYAKOVA URS Leningrad 11.06.88 NR 6.84 Irene PUSTERLA SUI Chiasso 20.08.11 3 Akela JONES BAR 6.75 6.75 6.75 WJR 7.14 Heike DRECHSLER GDR Bratislava 04.06.83 4 Lorraine UGEN GBR 7.07 6.92 6.76 MR 7.48 Heike DRECHSLER GER 08.07.92 5 Shara PROCTOR GBR 7.07 7.07 6.80 DLR 7.25 Brittney REESE USA Doha 10.05.13 6 Darya KLISHINA RUS 7.52 7.05 6.84 SB 7.31 Brittney REESE USA Eugene 02.07.16 7 Ivana SPANOVIĆ SRB 7.08 7.08 7.08 8 Tianna BARTOLETTA USA 7.49 7.17 7.17 2016 World Outdoor list 7.31 +1.7 Brittney REESE USA Eugene 02.07.16 7.17 +0.6 Tianna BARTOLETTA USA Rio de Janeiro 17.08.16 Medal Winners Diamond Race 7.16 +1.6 Sosthene MOGUENARA GER Weinheim 29.05.16 1 Ivana SPANOVIĆ (SRB) 36 7.08 +0.6 Ivana SPANOVIĆ SRB Rio de Janeiro 17.08.16 2016 - Rio de Janeiro Olympic Games 2 Brittney REESE (USA) 16 7.05 +2.0 Brooke STRATTON AUS Perth 12.03.16 1. Tianna BARTOLETTA (USA) 7.17 3 Christabel NETTEY (CAN) 15 6.95 +0.6 Malaika MIHAMBO GER Rio de Janeiro 17.08.16 2.
    [Show full text]
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • Friendly Fire Project Examines How a Country Views Itself by How It Tells Its War Story, We Are Also Very Interested in What Other Countries Consume for Entertainment
    00:00:00 Music Music Soft, melancholy, somewhat eerie music. 00:00:01 Adam Host If it feels like there are a lot of films about Stalingrad, you’re not Pranica wrong. A quick search in your movie streaming service of choice—or if you’re so lucky, a brick-and-mortar video store—will reveal ten of them. Although only one, to our knowledge, has a scene depicting a Rachel Weisz hand job. It’s enough film content to spin off a podcast of its own, and I’ve already pitched Earwolf a show about German/Russian World War II films with an emphasis on fighter plane aerodynamics/equestrian cavalry enclosures hosted by fifth-year college seniors from acting school with limb fractures called The Stalingrad Stall Stall Stallin’ Grad Cast Cast Cast. For comparison, there are only five more films made about Pearl Harbor, and that’s if you don’t disqualify the Michael Bay movie, which we do. This Stalingrad film is the most successful Russian film of all time, earning 51 million domestically in Russia and $68 million globally. And while the Friendly Fire project examines how a country views itself by how it tells its war story, we are also very interested in what other countries consume for entertainment. Stalingrad accomplishes both. But does that say anything about the importance of this battle in the story of World War II, and the historical record? Well, in our experience watching war films, sometimes quantity doesn’t equal quality. And this is a film that tries very hard to project quality.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • GÜRCÜ SİNEMASI Ve TENGİZ ABULADZE
    T.C. DOKUZ EYLÜL ÜNİVERSİTESİ GÜZEL SANATLAR ENSTİTÜSÜ SİNEMA – TV ANASANAT DALI YÜKSEK LİSANS TEZİ GÜRCÜ SİNEMASI ve TENGİZ ABULADZE Hazırlayan Duygu YILMAZ Danışman Yrd. Doç. Dr. Zühal ÇETİN ÖZKAN İZMİR–2008 Yüksek lisans tezi olarak sunduğum “Gürcü Sineması ve Tengiz Abuladze” adlı çalışmanın, tarafımdan, bilimsel ahlak ve geleneklere aykırı düşecek bir yardıma başvurmaksızın yazıldığını ve yararlandığım eserlerin bibliyografyada gösterilenlerden oluştuğunu, bunlara atıf yapılarak yararlanılmış olduğunu belirtir ve bunu onurumla doğrularım. Tarih ..../..../2008 DUYGU YILMAZ ii TUTANAK Dokuz Eylül Üniversitesi Güzel Sanatlar Enstitüsü’ nün ......./......../...... tarih ve ......sayılı toplantısında oluşturulan jüri, Lisansüstü Öğretim Yönetmeliği’nin ........maddesine göre ........................Anabilim Dalı ………..öğrencisi ..........................’ nin ...................konulu tezi/projesi incelenmiş ve aday ......./....../........ tarihinde, saat .......’ da jüri önünde tez savunmasına alınmıştır. Adayın kişisel çalışmaya dayanan tezini/projesini savunmasından sonra ......... dakikalık süre içinde gerek tez konusu, gerekse tezin dayanağı olan anabilim dallarından jüri üyelerine sorulan sorulara verdiği cevaplar değerlendirilerek tezin/projenin .............................olduğuna oy...................ile karar verildi. BAŞKAN ÜYE ÜYE (ÜYE) (ÜYE) iii YÜKSEKÖĞRETİM KURULU DOKÜMANTASYON MERKEZİ TEZ/PROJE VERİ FORMU Tez/Proje No: Konu Kodu: Üniv. Kodu: Tez/Proje Yazarının Soyadı: YILMAZ Adı: DUYGU Tezin/Projenin Türkçe Adı: GÜRCÜ
    [Show full text]
  • Sergey Abashin Institute of Ethnology and Anthropology of the Russian Academy of Sciences (Moscow) [email protected]
    Sergey Abashin Institute of Ethnology and Anthropology of the Russian Academy of Sciences (Moscow) [email protected] Cultural Processes and Transcultural Influences In Contemporary Central Asia Issues addressed and the aims of the text What is this text about? What are the goals of its author? Some preliminary explanations may help shape the expectations of the reader and prevent possible disappointment. My main purpose is to give a three-dimensional overview of the state of cultural affairs in Central Asian societies after the states in the region achieved independence and to describe the main current tendencies defining local cultural processes and transcultural influences in the long term. I am interested in such themes as: culture and the changing political landscape; the institutional environment for culture; culture and education; culture and language; culture and ethnic minorities; culture and religion; the cultural marketplace; culture and business; culture and globalisation. My questions: how is the Soviet experience of "cultural construction” used and transformed in the modern nation-states of Central Asia? what restrictions on cultural production are imposed by the political situation and economic possibilities of these countries? how do the processes of isolationism and globalisation interact? what changes are being wrought by the islamisation of these societies? what is the future potential of secular, European-style, culture? who are the main players in the region’s cultural space? These questions might seem too general, but without considering and judging them, any attempt to understand the essence of events in narrower fields of cultural life is, surely, doomed to failure. In an “analytical note”, a number of general recommendations for the work of international organisations in the cultural sphere of Central Asia are presented.
    [Show full text]
  • Phoenix Films 1999-2019/20 Sorted by Film Title 10
    Phoenix Films 1999-2019/20 Sorted by Film Title Film Date Rating(%) 2046 1-Feb-2006 68 120BPM (Beats Per Minute) 24-Oct-2018 75 3 Coeurs 14-Jun-2017 64 35 Shots of Rum 13-Jan-2010 65 45 Years 20-Apr-2016 83 5 x 2 3-May-2006 65 A Bout de Souffle 23-May-2001 60 A Clockwork Orange 8-Nov-2000 81 A Fantastic Woman 3-Oct-2018 84 A Farewell to Arms 19-Nov-2014 70 A Highjacking 22-Jan-2014 92 A Late Quartet 15-Jan-2014 86 A Man Called Ove 8-Nov-2017 90 A Matter of Life and Death 7-Mar-2001 80 A One and A Two 23-Oct-2001 79 A Prairie Home Companion 19-Dec-2007 79 A Private War 15-May-2019 94 A Room and a Half 30-Mar-2011 75 A Royal Affair 3-Oct-2012 92 A Separation 21-Mar-2012 85 A Simple Life 8-May-2013 86 A Single Man 6-Oct-2010 79 A United Kingdom 22-Nov-2017 90 A Very Long Engagement 8-Jun-2005 80 A War 15-Feb-2017 91 A White Ribbon 21-Apr-2010 75 Abouna 3-Dec-2003 75 About Elly 26-Mar-2014 78 Accident 22-May-2002 72 After Love 14-Feb-2018 76 After the Storm 25-Oct-2017 77 After the Wedding 31-Oct-2007 86 Alice et Martin 10-May-2000 All About My Mother 11-Oct-2000 84 All the Wild Horses 22-May-2019 88 Almanya: Welcome To Germany 19-Oct-2016 88 Amal 14-Apr-2010 91 American Beauty 18-Oct-2000 83 American Honey 17-May-2017 67 American Splendor 9-Mar-2005 78 Amores Perros 7-Nov-2001 85 Amour 1-May-2013 85 Amy 8-Feb-2017 90 An Autumn Afternoon 2-Mar-2016 66 An Education 5-May-2010 86 Anna Karenina 17-Apr-2013 82 Another Year 2-Mar-2011 86 Apocalypse Now Redux 30-Jan-2002 77 Apollo 11 20-Nov-2019 95 Apostasy 6-Mar-2019 82 Aquarius 31-Jan-2018 73
    [Show full text]
  • Preservation and Changes of Russian Culture from the Perspective of Film Language — Taking Attraction As an Example
    Preservation and Changes of Russian Culture from the Perspective of Film Language — Taking Attraction as an Example Wenhan Yang Heilongjiang University, Harbin 116085, Heilongjiang, China Email: [email protected] Abstract: The changes of Russian literature and film language, to some extent, mirror the historical process of changes of Russian culture. In the history of cultural development in several centuries, Russia has critically absorbed the achievements of Eastern and Western civilizations on the premise of preserving its own cultural background, thus forming a Russian civ- ilization with national characteristics. Taking Attraction as an example, this paper analyzes the preservation and changes of modern and contemporary Russian culture from the perspective of film language, so as to discover the changes of modern and contemporary Russian civilization. Keywords: film language, Russian culture, preservation and change, Attraction Introduction Attraction is a science fiction based love affair film directed by Fyodor Bondarchuk with the love track of the heroine Yulya as the clue, and it depicted various contradictions and tensions in social life as the earth was collapsing. In the film, there are few descriptions of battles and invasions, but love, kinship, friendship and other elements are vigorously rendered with relatively slow pace. The doomsday soft science fiction film Attraction gives a large proportion on the discussion of human nature, conveying the director and screenwriter's unique world view and cosmology, and conveying the anti-war spiritual core. 1. The preservation of Russian culture in the film language of Attraction 1.1 Preservation of love culture Love is the eternal theme of Russian films and world films.
    [Show full text]
  • CTC Media Investor Presentation
    CTC Media, Inc. Investor Presentation May 2014 A Leading Independent Broadcasting and Content Company in Russia From Private TV Network to Public Media Holding Launch of CTC- international in Germany, North America and the Baltics Development of in- house creative Telcrest Investments production center Limited acquired a 25% CTC Media was stake in СTС Media Launch of Peretz from Alfa Group founded as Story International in Modern Times Group First Initial Public Offering Belarus became a shareholder Launch of Domashniy.ru Communications on NASDAQ Launch of CTC- of CTC Media international in women’s portal USA 1989 1994 2002 2005 2006 2008 2009 2010 2011 2012 2013 2014 Launch of CTC Launch of CTC- Love Channel on international in cable and satellite Launch of CTC Launch of Israel Acquisition of DTV Launch of CTC- Network Domashny Network Launch of Peretz (rebranded to Peretz international in Establishment of International in in 2011) Kazakhstan, Kyrgyzstan, CTC Media’s Kyrgystan Armenia, Georgia, internal advertising Acquisition of Azerbaijan, Thailand and sales house Launch of Sweet Channel 31 in uplink to HOT BIRD ‘Everest Sales’ me brand together Kazakhstan and a TV with KupiVip company in Moldova CTC and Domashny Launch of received digital licenses Videomore.ru online content portal 2 We Fully Capture the Value Chain by Being Integrated TV Broadcaster CTC – target audience All 10-45 BROADCASTING ( RUSSIA) Domashny – target audience Females 25-59 Peretz – target audience All 25-49 CTC Love – target audience All 11-34 Kazakhstan Channel
    [Show full text]
  • Management and Spatial Planning in the Coastal Zone of the Cheboksary Reservoir
    MANAGEMENT AND SPATIAL PLANNING IN THE COASTAL ZONE OF THE CHEBOKSARY RESERVOIR Inna Nikonorova [email protected] Chuvash state university 428015, Russia, Cheboksary, Moskovsky av., 15 Lowland hydroelectric reservoir created as a complex, multi-functional building. Along with a positive result, they had a number of negative consequences. Many researchers address to the problem of reservoirs, especially in the second half of the twentieth century in Russia, USA, China and some European countries (Poland, Ukraine, and others). A great contribution to the study of this field of science has Russian scientists: Avakyan, Matarzin, Ikonnikov, Shirokov, Edelstein, Ershova, Berkowitzch, Rulyova, Nazarov, et al. Cheboksary reservoir was formed by the hydroelectric dam of the same name on the river Volga. Within Chuvashia Volga has a length of 127 km. Like the whole valley, this plot suffered a complete overhaul with the establishment in 1981 of the last stage of the Volga Hydroelectric Power Plant Cascade - Cheboksary hydroelectric plant. Since 1981 Cheboksary reservoir is exploited on unplanned water-level mark - 63 m instead of 68 m on the project. It is necessary to find the optimal path of sustainable development for the Cheboksary reservoir, because for over 30 years reservoir exploited by unplanned mark (63 m instead 68 m), and Cheboksary hydro-power plant is an unfinished construction project. Department of Physical Geography and Geomorphology of the Chuvash State University studied Cheboksary reservoir since 1992. There are obtained results of monitoring banks, geoecological study of water masses and coastal geosystems, defined zones, types and extent of its recreational use. There is defined maximum coastal retreat since 1981.
    [Show full text]
  • 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.
    [Show full text]
  • Programme Notes
    Red Front May 9 - May 30 2020 Trial on the Road (1971) by Aleksei German World War 2, or as it is known to Russians, The Great Patriotic proved too challenging for the authorities. The film was War is one of the few conflicts where we can attribute clear shelved for 15 years. moral judgement. Most international conflict carries ambivalence, it is hard to unpick which side, or indeed sides, The ambiguity that starts with Lazarev certainly does not end are ‘right’ or ‘wrong’. The general consensus on WWII has led to with him. When imprisoned by the partisans, his cellmate is an a conception of heroes and villains, which has penetrated 18 year old boy and a fellow defector. Lazarev’s commanding national and historical consciousness across Europe for the and stoic screen presence is the perfect counterbalance to the better part of a century. The Soviet death toll stands, according boy’s desperation. As the young man cries of his desolation to a 1993 study by the Russian Academy of the Sciences, at and regret, Lazarev says nothing, although he definitely 26.6million. The intense strength of pride and remembrance understands. It is a heartbreaking scene, one which shows the that still resonates through the region today is equivocal to way trauma envelopes individuals, and leaves them unable to the magnitude of the tragedy. However, whilst most of us can extend comfort to themselves, let alone to others. There are confidently say that Nazism and fascism were terrible forces, many scenes of this nature in German’s film, characters and that the war was largely just, this says nothing of the breakdown and their sorrow is met with silence.
    [Show full text]