A Historical Analysis of the Films of Andrei Tarkovsky in Relation to the Post-Thaw Soviet Moment
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CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…
5 JAN 18 1 FEB 18 1 | 5 JAN 18 - 1 FEB 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and counting… As you’ll spot deep within this programme (and hinted at on the front cover) January 2018 sees the start of a series of films that lead up to celebrations in October marking the 40th birthday of Filmhouse as a public cinema on Lothian Road. We’ve chosen to screen a film from every year we’ve been bringing the very best cinema to the good people of Edinburgh, and while it is tremendous fun looking back through the history of what has shown here, it was quite an undertaking going through all the old programmes and choosing what to show, and a bit of a personal journey for me as one who started coming here as a customer in the mid-80s (I know, I must have started very young...). At that time, I’d no idea that Filmhouse had only been in existence for less than 10 years – it seemed like such an established, essential institution and impossible to imagine it not existing in a city such as Edinburgh. My only hope is that the cinema is as important today as I felt it was then, and that the giants on whose shoulders we currently stand feel we’re worthy of their legacy. I hope you can join us for at least some of the screenings on this trip down memory lane... And now, back to the now. -
Jewish Issue in Friedrich Gorenstein's Writing
JEWISH ISSUE IN FRIEDRICH GORENSTEIN’S WRITING Elina Vasiljeva, Dr. philol. Daugavpils University/Institute of Comparative Studies , Latvia Abstract: The paper discusses the specific features in the depiction of the Jewish issue in the writings by Friedrich Gorenstein.The nationality of Gorenstein is not hard to define, while his writing is much more ambiguous to classify in any national tradition. The Jewish theme is undoubtedly the leading one in his writing. Jewish issue is a part of discussions about private fates, the history of Russia, the Biblical sense of the existence of the whole humankind. Jewish subject matter as such appears in all of his works and these are different parts of a single system. Certainly, Jewish issues partially differ in various literary works by Gorenstein but implicitly they are present in all texts and it is not his own intentional wish to emphasize the Jewish issue: Jewish world is a part of the universe, it is not just the tragic fate of a people but a test of humankind for humanism, for the possibility to become worthy of the supreme redemption. The Jewish world of Gorenstein is a mosaic world in essence. The sign of exile and dispersal is never lifted. Key Words: Jewish , Biblical, anti-Semitism Introduction The phenomenon of the reception of one culture in the framework of other cultures has been known since the antiquity. Since the ancient times, intercultural dialogue has been implemented exactly in this form. And this reception of another culture does not claim to be objective. On the contrary, it reflects not the peculiarities of the culture perceived, but rather the particularities of artistic consciousness of the perceiving culture. -
Course Handbook
SL12 Page 1 of 29 UNIVERSITY OF CAMBRIDGE DEPARTMENT OF SLAVONIC STUDIES PAPER SL12: SOCIALIST RUSSIA 1917-1991 HANDBOOK Daria Mattingly [email protected] SL12 Page 2 of 29 INTRODUCTION COURSE AIMS The course is designed to provide you with a thorough grounding in and advanced understanding of Russia’s social, political and economic history in the period under review and to prepare you for the exam, all the while fostering in you deep interest in Soviet history. BEFORE THE COURSE BEGINS Familiarise yourself with the general progression of Soviet history by reading through one or more of the following: Applebaum, A. Red Famine. Stalin's War on Ukraine (2017) Figes, Orlando Revolutionary Russia, 1891-1991 (2014) Hobsbawm, E. J. The Age of Extremes 1914-1991 (1994) Kenez, Peter A History of the Soviet Union from the Beginning to the End (2006) Lovell, Stephen The Soviet Union: A Very Short Introduction (2009) Suny, Ronald Grigor The Soviet Experiment: Russia, the USSR, and the Successor States (2010) Briefing meeting: There’ll be a meeting on the Wednesday before the first teaching day of Michaelmas. Check with the departmental secretary for time and venue. It’s essential that you attend and bring this handbook with you. COURSE STRUCTURE The course comprises four elements: lectures, seminars, supervisions and reading. Lectures: you’ll have sixteen lectures, eight in Michaelmas and eight in Lent. The lectures provide an introduction to and overview of the course, but no more. It’s important to understand that the lectures alone won’t enable you to cover the course, nor will they by themselves prepare you for the exam. -
Poetry Sampler
POETRY SAMPLER 2020 www.academicstudiespress.com CONTENTS Voices of Jewish-Russian Literature: An Anthology Edited by Maxim D. Shrayer New York Elegies: Ukrainian Poems on the City Edited by Ostap Kin Words for War: New Poems from Ukraine Edited by Oksana Maksymchuk & Max Rosochinsky The White Chalk of Days: The Contemporary Ukrainian Literature Series Anthology Compiled and edited by Mark Andryczyk www.academicstudiespress.com Voices of Jewish-Russian Literature An Anthology Edited, with Introductory Essays by Maxim D. Shrayer Table of Contents Acknowledgments xiv Note on Transliteration, Spelling of Names, and Dates xvi Note on How to Use This Anthology xviii General Introduction: The Legacy of Jewish-Russian Literature Maxim D. Shrayer xxi Early Voices: 1800s–1850s 1 Editor’s Introduction 1 Leyba Nevakhovich (1776–1831) 3 From Lament of the Daughter of Judah (1803) 5 Leon Mandelstam (1819–1889) 11 “The People” (1840) 13 Ruvim Kulisher (1828–1896) 16 From An Answer to the Slav (1849; pub. 1911) 18 Osip Rabinovich (1817–1869) 24 From The Penal Recruit (1859) 26 Seething Times: 1860s–1880s 37 Editor’s Introduction 37 Lev Levanda (1835–1888) 39 From Seething Times (1860s; pub. 1871–73) 42 Grigory Bogrov (1825–1885) 57 “Childhood Sufferings” from Notes of a Jew (1863; pub. 1871–73) 59 vi Table of Contents Rashel Khin (1861–1928) 70 From The Misfit (1881) 72 Semyon Nadson (1862–1887) 77 From “The Woman” (1883) 79 “I grew up shunning you, O most degraded nation . .” (1885) 80 On the Eve: 1890s–1910s 81 Editor’s Introduction 81 Ben-Ami (1854–1932) 84 Preface to Collected Stories and Sketches (1898) 86 David Aizman (1869–1922) 90 “The Countrymen” (1902) 92 Semyon Yushkevich (1868–1927) 113 From The Jews (1903) 115 Vladimir Jabotinsky (1880–1940) 124 “In Memory of Herzl” (1904) 126 Sasha Cherny (1880–1932) 130 “The Jewish Question” (1909) 132 “Judeophobes” (1909) 133 S. -
The Holy Fool in Late Tarkovsky
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Nebraska, Omaha Journal of Religion & Film Volume 18 | Issue 1 Article 45 3-31-2014 The olH y Fool in Late Tarkovsky Robert O. Efird Virginia Tech, [email protected] Recommended Citation Efird, Robert O. (2014) "The oH ly Fool in Late Tarkovsky," Journal of Religion & Film: Vol. 18 : Iss. 1 , Article 45. Available at: https://digitalcommons.unomaha.edu/jrf/vol18/iss1/45 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The olH y Fool in Late Tarkovsky Abstract This article analyzes the Russian cultural and religious phenomenon of holy foolishness (iurodstvo) in director Andrei Tarkovsky’s last two films, Nostalghia and Sacrifice. While traits of the holy fool appear in various characters throughout the director’s oeuvre, a marked change occurs in the films made outside the Soviet Union. Coincident with the films’ increasing disregard for spatiotemporal consistency and sharper eschatological focus, the character of the fool now appears to veer off into genuine insanity, albeit with a seemingly greater sensitivity to a visionary or virtual world of the spirit and explicit messianic task. Keywords Andrei Tarkovsky, Sacrifice, Nostalghia, Holy Foolishness Author Notes Robert Efird is Assistant Professor of Russian at Virginia Tech. He holds a PhD in Slavic from the University of Virginia and is the author of a number of articles dealing with Russian and Soviet cinema. -
Full Cinematic Retrospective of Director Andrei Tarkovsky This Summer at MAD
Full Cinematic Retrospective of Director Andrei Tarkovsky this Summer at MAD Andrei Tarkovsky, Sculpting in Time presents the work of the revolutionary director and includes screenings—all on 35 mm—of all seven feature films and a behind-the-scenes documentary Stalker, 1976. Andrei Tarkovsky. New York, NY (June 8, 2015)—The Museum of Arts and Design presents a full cinematic retrospective of Andrei Tarkovsky’s work this summer with its latest cinema series, Andrei Tarkovsky, Sculpting in Time, from July 10 through August 28, 2015. Over the course of just seven feature films, Tarkovsky produced a poetic and enigmatic body of work that expanded the possibilities of cinema as an art form and transformed a wide range of genres including science fiction, war stories, film essays and historical dramas. Celebrating the legacy of this revolutionary director, the retrospective includes screenings of Tarkovsky’s seven feature films on 35 mm, as well as a behind-the-scenes documentary that reveals the process behind his groundbreaking practice and cinematic achievements. “Few directors have had as large of an influence on cinema as Andrei Tarkovsky,” says Jake Yuzna, MAD’s Director of Public Programs. “Working under censorship and with little support from the Soviet Union, Tarkovsky fought fiercely for his conceptualization of cinema as a singular and vital art form. Reconsidering the role of films in an age of increasing technology, Tarkovsky saw cinema as not merely a tool for communicating information, but as ‘a moral barometer in a sea of competing narratives.’” 2 COLUMBUS CIRCLE NEW YORK, NEW YORK 10019 P 212.299.7777 F 212.299.7701 MADMUSEUM.ORG Premiering on July 10 with Tarkovsky’s science fiction classic, Solaris, the retrospective showcases the director’s distinctive and influential aesthetic, characterized by expressive, sweeping takes, the evocative use of landscapes, and his method of “sculpting in time” with a camera. -
Russian Cinema Now, an 11-Film Showcase of Contemporary Films, May 31— Jun 13
BAMcinématek presents the 30th anniversary of Andrei Tarkovsky’s Nostalghia for two weeks in a new 35mm print, alongside Russian Cinema Now, an 11-film showcase of contemporary films, May 31— Jun 13 In association with TransCultural Express: American and Russian Arts Today, a partnership with the Mikhail Prokhorov Fund to promote cultural exchange between American and Russian artists and audiences Three North American premieres, three US premieres, and special guests including legendary Fugees producer John Forté and friends and acclaimed directors Sergei Loznitsa and Andrey Gryazev The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/May 10, 2013—From Friday, May 31 through Thursday, June 13, BAMcinématek presents a two-week run of Russian master Andrei Tarkovsky’s Nostalghia in a new 35mm print for its 30th anniversary, alongside Russian Cinema Now, a series showcasing contemporary films with special guests and Q&As. Both programs are part of TransCultural Express: American and Russian Arts Today, a collaborative venture to promote cultural exchange and the Mikhail Prokhorov Fund’s inaugural artistic alliance with a US performing arts institution. For more information on TransCultural Express, download the program press release. A metaphysical exploration of spiritual isolation and Russian identity, Tarkovsky’s (Solaris, Stalker) penultimate film Nostalghia (1983) follows Russian expat and misanthropic poet Andrei (Oleg Yankovsky, The Mirror) as he travels to Italy to conduct research on an 18th-century composer. In the course of his study, he is overcome by melancholy and a longing for his home country—a sentiment reflective of the exiled Tarkovsky’s own struggle with displacement, this being his first film made outside of the USSR (the film’s Italian title translates as “homesickness”). -
Tarkovsky Is for Me the Greatest, the One Who Invented a New Language, True to the Nature of Film As It Captures Life As a Reflection, Life As a Dream.”
stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press Curzon Mayfair 38 Curzon Street 7 – 13 DECEMBER London W1J Features £10/£8 Curzon Members; www.curzoncinemas.com Documentaries £6.50 Box Office: 0871 7033 989 TARKOVSKY FESTIVAL – A RETROSPECTIVE As part of the celebration of the 75th Anniversary of one of the undisputed masters of world cinema, Andrei Tarkovsky (1932 – 1986), Curzon Cinemas and Artificial Eye present screenings of his feature films, documentaries about him, and the reading of a stage play related to his work. Most screenings will be introduced by an actor or member of the crew, followed by a Q&A. Related activities will take place across the capital. “Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film as it captures life as a reflection, life as a dream.” Ingmar Bergman FRI 7 DECEMBER 7PM OPENING GALA PLUS Q&A: THE SACRIFICE (PG) – NEW PRINT Director: Andrei Tarkovsky / Starring: Erland Josephson, Susan Fleetwood, Gudrun Gisladottir / Russia 1986 / 148 mins / Russian with English subtitles Tarkovsky's final film unfolds in the hours before a nuclear holocaust. Alexander is celebrating his birthday when a crackly TV announcement warns of imminent nuclear catastrophe. Alexander makes a promise to God that he will sacrifice all he holds dear, if the disaster can be averted. The next day dawns and everything is restored to normality, but Alexander must now keep his vow. We hope to welcome on stage lead actress Gudrun Gisladottir, and Layla Alexander-Garrett, the interpreter on THE SACRIFICE. -
This Is Not the Film: Narrative Frustration, Indeterminacy, and Silence in David Lynch’S Mulholland Drive
English Studies in Africa ISSN: 0013-8398 (Print) 1943-8117 (Online) Journal homepage: https://www.tandfonline.com/loi/reia20 This is Not the Film: Narrative Frustration, Indeterminacy, and Silence in David Lynch’s Mulholland Drive Georg Nöffke To cite this article: Georg Nöffke (2018) This is Not the Film: Narrative Frustration, Indeterminacy, and Silence in David Lynch’s MulhollandDrive, English Studies in Africa, 61:1, 60-69, DOI: 10.1080/00138398.2018.1512194 To link to this article: https://doi.org/10.1080/00138398.2018.1512194 Published online: 07 Nov 2018. Submit your article to this journal Article views: 228 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=reia20 This is Not the Film: Narrative Frustration, Indeterminacy, and Silence in David Lynch’s Mulholland Drive Georg Nöffke ‘A Love Story in the City of Dreams’ ran the coy promotional tagline for David Lynch’s 2001 film Mulholland Drive. Since its release, this ‘love story’–jagged, fragmentary, achronological – has inspired an overproduction of criticism focused on dream analysis. Central to such a mode of interpretation, one which separates content from form, which mines for content at the expense of considerations of form, is the distinction between those facets of the film’s narrative marked off as ‘fantasy’ and those marked off as ‘reality’. While these investigations have, in their way, been fruitful, they have also had the lamentable effect of rendering legible, reducing to a story, a work of art which, as a time-bound cinematic experience, deliberately resists the consolations of a linear narrative, amounts, in effect, to an anti-story that in its non-revelations, its silences, becomes time-less. -
Cinema and the Unconscious: Filmic Representations of Dreams
Cinema and the Unconscious: Filmic Representations of Dreams Branson Stowell Films Studies Departmental Honors Thesis University of Colorado at Boulder April 7th, 2015 Thesis Advisor Melinda Barlow | Film Studies Committee Members Melinda Barlow | Film Studies Giulia Bernardini | Humanities Jennifer Peterson | Film Studies Page !1 of !54 Table of Contents I. Abstract 3 II. Introduction 5 III. Mulholland Dr 13 IV. Inception 26 V. Conclusion 43 VI. Bibliography 53 Page !2 of !54 I. Abstract “Dreams are the touchstones of our characters.” - Henry David Thoreau, A Week on the Concord and Merrimack Rivers The ubiquitous nature of dreams works to connect all humankind through its powerful presence in both our waking and sleeping life. I became curious about the unconscious after I recorded a series of dreams that I experienced last summer. After looking at this phenomena from the outside, I became invested in the narrative aspect of dreams and the personal nature the dreamer has with each dream. It then occurred to me how significant dreams are in our daily life. We experience thousands of dreams throughout our lifetime - varying constructions of our unconscious reassembled night after night. One of the remarkable things about dreams is that only the individual gets to experience them directly. There have been many cultural attempts to capture the dream experience. From the paintings of Salvador Dali to the poetry of Edgar Allan Poe, dreams have been a popular catalyst for artistic creation. When film came into existence, it too tried to capture that special, esoteric quality which was seemingly exclusive to the world of the dream. -
St. Michael the Archangel Antiochian Orthodox Church Second Sunday
St. Michael the Archangel Antiochian Orthodox Church 62 Main Street, Cotuit, MA 02635 (508)420‐1113▪ www.stmichaelcapecod.org Like us on Facebook Sunday, July 4, 2021 Second Sunday after Pentecost Andrew, archbishop of Crete, author of the Great Canon; Martyrs Theodore of Cyrene and Lucia; Venerable Andrei Rublev Celebrant: Fr. Ben Kjendal LITTLE ENTRANCE WEEKLY VARIABLES THE EISODIKON (ENTRANCE HYMN): In the gathering places bless ye God the Lord, from the springs of Israel. Save us, O Son of God, Who art risen from the dead, who sing to Thee. Alleluia. RESURRECTIONAL APOLYTIKION IN TONE ONE: While the stone was sealed by the Jews, and the soldiers were guarding Thy most pure body, Thou didst arise on the third day, O Savior, granting life to the world. For which cause the heavenly powers cried aloud unto Thee, O giver of life. Glory to Thy Resurrection O Christ, glory to Thy kingdom, glory to Thy providence, O Thou Who alone art the lover of mankind. APOLYTIKION OF ST. MICHAEL THE ARCHANGEL: O ye foremost of the heavenly host, we beseech thee, though we are unworthy. Pray that we may be encompassed with the shadow of thy unearthly glory. Preserving us who kneel and cry endlessly. Deliver us from oppression since Ye are the princes of the highest power. ORDINARY KONTAKION IN TONE TWO: O protection of Christians that cannot be put to shame, mediation unto the Creator most constant, O despise not the suppliant voices of those who have sinned; but be thou quick, O good one, to come unto our aid, who in faith cry unto thee: Hasten to intercession, and speed thou to make supplication, thou who dost ever protect, O Theotokos, them that honor thee. -
BETWEEN CREATION and CRISIS: SOVIET MASCULINITIES, CONSUMPTION, and BODIES AFTER STALIN by Brandon Gray Miller a DISSERTATION Su
BETWEEN CREATION AND CRISIS: SOVIET MASCULINITIES, CONSUMPTION, AND BODIES AFTER STALIN By Brandon Gray Miller A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Doctor of Philosophy 2013 ABSTRACT BETWEEN CREATION AND CRISIS: SOVIET MASCULINITIES, CONSUMPTION, AND BODIES AFTER STALIN By Brandon Gray Miller The Soviet Union of the 1950s and 1960s existed in a transitional state, emerging recently from postwar reconstruction and on a path toward increasing urbanity, consumer provisioning, and technological might. Modernizing rhetoric emphasized not only these spatial and material transformations, but also the promise of full-fledged communism’s looming arrival. This transformational ethos necessitated a renewal of direct attempts to remold humanity. Gender equality—or, at the very least, removing bourgeois strictures on women—remained a partially unfulfilled promise. Technological advances and the development of Soviet industrial capacity offered a new means of profoundly altering the lives of Soviet men and women. As other scholars have noted, Soviet women were the most obvious targets of these campaigns, but they were not alone in these projects. This dissertation argues that the Soviet state also directed intensive campaigns to remodel male consumptive and bodily practices in order to rid them of politically and socially destructive tendencies, making them fit for the modern socialist civilization under construction. Rooted in, but divergent from, Bolshevik novyi byt campaigns and Stalinist kul’turnost efforts, Soviet authorities actively sought to craft productive male citizens of a modern mold freed of the rough and coarse habits associated with working-class and village masculinities. Many of men targeted in these campaigns fell short of these stated aims.