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DIRECTOR Larisa Shepitko WRITING Yuri Klepikov and Larisa Shepitko Wrote the Screenplay Adapted from a Novel by Vasiliy Bykov
October 29, 2019 (XXXIX:10) Larisa Shepitko: THE ASCENT (1977, 111m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Larisa Shepitko WRITING Yuri Klepikov and Larisa Shepitko wrote the screenplay adapted from a novel by Vasiliy Bykov. Production Company Mosfilm MUSIC Alfred Schnittke CINEMATOGRAPHY Vladimir Chukhnov and Pavel Lebeshev EDITING Valeriya Belova CAST Boris Plotnikov...Sotnikov Vladimir Gostyukhin...Rybak Sergey Yakovlev...Village elder Lyudmila Polyakova...Demchikha Viktoriya Goldentul...Basya Anatoliy Solonitsyn...Portnov, the Nazi interrogator Mariya Vinogradova...Village elder's wife Nikolai Sektimenko...Stas' She also adopted his motto, "Make every film as if it's your last." Shepitko graduated from VGIK in 1963 with LARISA SHEPITKO (b. January 6, 1938 in her prize winning diploma film Heat*, or Znoy made Artyomovsk, Ukrainian SSR, USSR [now Artemivsk, when she was 22 years old. The film was influenced by a Donetsk Oblast, Ukraine]—d. July 2, 1979 (age 41) in short story, ''The Camel's Eye'', by Chingiz Aitmatov. near Redkino, Kalinin Oblast, Russian SFSR, USSR), Her 1967 short film, “Homeland of electricity,”* part of whose filmmaking career was tragically cut short by a car the omnibus Beginning of an Unknown Era, suffered accident, was on the verge of becoming a name censorship for its perceived negative portrayal of the synonymous with internationally renowned directors to Bolsheviks, despite its intention to commemorate the emerge from the Soviet Union. -
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. -
The Russian Cinematic Culture
Russian Culture Center for Democratic Culture 2012 The Russian Cinematic Culture Oksana Bulgakova Follow this and additional works at: https://digitalscholarship.unlv.edu/russian_culture Part of the Film and Media Studies Commons, Other Languages, Societies, and Cultures Commons, and the Slavic Languages and Societies Commons Repository Citation Bulgakova, O. (2012). The Russian Cinematic Culture. In Dmitri N. Shalin, 1-37. Available at: https://digitalscholarship.unlv.edu/russian_culture/22 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Russian Culture by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. The Russian Cinematic Culture Oksana Bulgakova The cinema has always been subject to keen scrutiny by Russia's rulers. As early as the beginning of this century Russia's last czar, Nikolai Romanov, attempted to nationalize this new and, in his view, threatening medium: "I have always insisted that these cinema-booths are dangerous institutions. Any number of bandits could commit God knows what crimes there, yet they say the people go in droves to watch all kinds of rubbish; I don't know what to do about these places." [1] The plan for a government monopoly over cinema, which would ensure control of production and consumption and thereby protect the Russian people from moral ruin, was passed along to the Duma not long before the February revolution of 1917. -
A Cinematic Battle: Three Yugoslav War Films from the 1960S
A Cinematic Battle: Three Yugoslav War Films from the 1960s By Dragan Batanĉev Submitted to Central European University History Department In partial fulfillment of the requirements for the degree of Master of Arts Thesis Supervisor: Professor Balázs Trencsényi Second Reader: Professor Marsha Siefert CEU eTD Collection Budapest, Hungary 2012 Statement of Copyright Copyright in the text of this thesis rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. CEU eTD Collection i Abstract The content of my thesis will present the analysis of three Yugoslav war films from the 1960s that they offer different views on World War II as a moment of creation of the state that aimed towards supranationalism and classlessness. I will analyse the films in terms of their production, iconography and reception as to show that although the Yugoslav government, led by a great cinephile Josip Broz Tito, demonstrated interest in the war film genre, there were opposing filmmakers‟ views on what WWII should represent in the Yugoslav history and collective mythology. By using the concept of historiophoty I will demonstrate that the war films represented the failure of Yugoslav government in integrating different nations into a supranational Yugoslav society in which conflicts between different social agents (the state, workers and peasants) will finally be resolved. -
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. -
ARTIGOS • LIVRE Imagens De Muçulmanos E Budistas Nos Filmes
ARTIGOS • LIVRE Imagens de Muçulmanos e budistas nos filmes soviéticos sobre a Segunda Guerra (1950 -89) Moisés Wagner Franciscon * Dennison de Oliveira † Resumo A URSS, apesar de oficialmente ateia e possuir a maioria de sua população sem uma crença religiosa, possuía importantes minorias adeptas de algum credo. Ancorados em sua diversidade demográfica, muçulmanos e budistas representavam uma importante fatia dessa minoria. Ao contrário dos ortodoxos eslavos, esses grupos não eram considerados confiáveis pelo regime duplamente: como não eslavos e integrantes de cultos vistos como perigosamente reacionárias e explosivos. O cinema bélico costuma ser importante vetor de ideias nacionalistas ou pró- regime. No caso soviético, esse gênero cinematográfico portava as impressões oficiais sobre ambos os credos – apesar das ambiguidades de alguns diretores. A sócio-história cinematográfica de Marc Ferro permite uma melhor compreensão das relações do poder político e diplomático dos diferentes grupos da sociedade e do filme de guerra na União Soviética. Sua concepção de cinema como produto social com mensagens latentes e lapsos conscientes ou inconscientes mostram um quadro mais complexo do que o de uma estrutura de poder piramidal que suprimiria sentimentos religiosos na sociedade. Os filmes de guerra selecionados (14 filmes produzidos entre 1950-89) são ambientados na Segunda Guerra e possuem como protagonistas ou coadjuvantes personagens caracterizados como membros das populações de tradição muçulmana ou budista dentro das fronteiras soviéticas, ou filmes produzidos por diretores e estúdios localizados nas repúblicas associadas com estas religiões. Palavras -chave: História social do cinema, filme de guerra, religião, União Soviética. Abstrac t The USSR, although officially atheist and possessing the majority of its population without a religious belief, possessed important minorities adhering to some creed. -
Evoking Soviet Dreamworlds: the Sovexport Documentaries at the EYE Filmmuseum
MASTER’S THESIS Evoking Soviet Dreamworlds: The Sovexport Documentaries at the EYE Filmmuseum Simona Evstatieva AUGUST 2020 Supervisor: Prof. Dr. Frank Kessler Second Reader: Dr. Laura Copier 2 Evoking Soviet Dreamworlds: The Sovexport Documentaries at the EYE Filmmuseum Research Master’s Thesis © 2020 By Simona Evstatieva 5712165 [email protected] RMA Media, Art & Performance Studies Department of Media and Culture Studies Utrecht University August 2020 Supervisor: Prof. Dr. Frank Kessler Second Reader: Dr. Laura Copier © 2020 Cover photo by the author, taken at the EYE Filmmuseum Collection Center CONTENTS Abstract…………………………………………………………………………………..….....5 Acknowledgments………………………………………………………………………….….6 Note on Transliteration………………………………………………………………………..7 INTRODUCTION………………………………………………………………………………8 CHAPTER ONE THE HISTORICAL BACKGROUND OF THE SOVEXPORT COLLECTION 1.1. The Stagnation Period (1964–1980)……………………………………………………19 1.2. The Stagnation Period and Its Cinema………………………………………………….23 1.3. The Popular Film of the Stagnation Period and Their “Aesopian” Meanings……….…26 1.4. The Cold War: Soviet Union, the West, and Their Import/Export Relations………...…30 CHAPTER TWO CRAFTING MEANING AND TRUTH IN DOCUMENTARY CINEMA 2.1. Defining the Documentary and Its “Truth Claim”………………………………………33 2.2. How do Documentaries Craft Truth…………………………………………………..…35 2.2.1. Authenticity………………………………………………………………...….36 2.2.2. Evidence and Authority……………………………………………………..…37 2.3. The Formal Techniques of Creating a Documentary………………………………...….40 CHAPTER THREE DISCOVERING THE SOVEXPORT COLLECTION AND ITS DREAMWORLDS 3.1. Soviet Space and its Importance for Constructing Soviet Identity……………………….48 3.2. Exploring and Conquering Space: razvedka versus osvoenie…………………………….50 3.3. The Films from the Sovexport Collection…………………………………………..……54 3.3.1. The Combination of Nonhierarchical and Circular Vision of Space………..…55 3.3.2. The Space of Nature…………………………………………………...……….58 3.3.3. -
Dottorato Di Ricerca in Arti Visive, Performative E Mediali Soviet Cinema in Italy in the Post-War Period
Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN ARTI VISIVE, PERFORMATIVE E MEDIALI Ciclo XXIX Settore Concorsuale di afferenza: 10/C1 Settore Scientifico disciplinare: L-ART/06 SOVIET CINEMA IN ITALY IN THE POST-WAR PERIOD (1950-1970) Presentata da: Liubov Dyshlyuk Coordinatore Dottorato Relatore Daniele Benati Michele Fadda Esame finale anno 2017 Contents Introduction ............................................................................................................. 4 Chapter One The USSR and Europe after World War II 1.1 Foreign policy of the USSR and main European partners: Cold War ............ 16 1.2 France in the Cold War and Franco-Soviet cultural relations ......................... 21 1.3 Britain in the Cold War and British-Soviet cultural collaboration ................. 30 1.4 Italy in the Cold War ....................................................................................... 35 Chapter Two Bilateral USSR-Italy relations after World War II 2.1 PCI and CPSU: the cultural-political developments ....................................... 38 2.2 Communist parties and culture: Association Italia-URSS and its activities ... 45 2.3 Communists and cinema in both Italy and the USSR ..................................... 59 Chapter Three Soviet cinema in Italy 3.1 Previous studies, researches and critique in Italy of the Soviet cinema.......... 72 3.2 Forms of cinematographic collaboration between Italy and the USSR .......... 76 Chapter Four Distribution of Soviet films in Italy 4.2 Soviet cinema through -
''You Never See the Enemy''
‘’You never see the enemy’’ De representatie van het oostfront en de Nazi-Sovjet oorlog in de Amerikaanse film, 1943-1989. Filmposter voor Douglas Sirks A time to love and a time to die (1958) Masterscriptie Naam: Siem ten Haaf Studentnummer: S4063775 Datum: 15-08-2016 Begeleider: Dr. H.G.J. Kaal 1 Inhoudsopgave: Inleiding: blz. 2 Hoofdstuk 1: ‘’We should emphasize the might and heroism of our allies’’ blz. 7 Hoofdstuk 2: ‘’Good Germans’’ en ‘’nasty Germans’’ blz. 17 Hoofdstuk 3: ‘’Where have all the Nazis gone?’’ blz. 24 Hoofdstuk 4: ‘’The war diminished by Hollywood heroics.’’ blz. 30 Conclusie: blz. 35 Bronnen: Wetenschappelijke werken: blz. 37 Kranten- en tijdschriftartikelen: blz. 39 Boeken, films en overige bronnen: blz. 40 2 Inleiding Historische gebeurtenissen zijn al vanaf het ontstaan van de filmindustrie populaire onderwerpen bij de makers en het publiek van de bewegende beelden. Het verleden is uitermate geschikt gebleken om een meeslepend verhaal te verbeelden dat voor een groot publiek tot de verbeelding sprak. Volgens filmwetenschappers is televisie steeds meer een middel geworden om een ander tijdstip te verbeelden dan een andere plaats.1 Daarnaast hebben film en televisie in de afgelopen eeuw de rol van meest invloedrijke medium voor de portrettering van historische gebeurtenissen overgenomen van het boek. De manier waarop men tegen het verleden aankeek werd dus in steeds grotere mate bepaald door de verbeelding van de geschiedenis in de populaire cultuur. Welke historische onderwerpen worden verbeeld, en de manier waarop deze worden verbeeld op het witte doek, is echter sterk veranderd door de jaren heen. De Tweede Wereldoorlog wordt door velen als een van de meest ingrijpende gebeurtenissen van de twintigste eeuw gezien. -
Saving Bruce African and Arab Cinema Lee in the Era of Soviet Cultural Diplomacy (A Prologue) Protagonists
SAVING BRUCE AFRICAN AND ARAB CINEMA LEE IN THE ERA OF SOVIET CULTURAL DIPLOMACY (A PROLOGUE) PROTAGONISTS Mohammad Abouelouakar (Morocco) Abdoulaye Ascofaré (Mali) Hassen Bouabdellah (Algeria) Rabah Bouberras (Algeria) Souleymane Cissé (Mali) Khalifa Condé (Guinea) Jean-Baptiste Elanga (Congo Republic) Sonallah Ibrahim (Egypt) Salim Mohammad Ibrahim al-Noor (Sudan) Daouda Keita (Guinea) Mohammad Malas (Syria) Sarah Maldoror (Guadeloupe) Azzedine Meddour (Algeria) Oussama Mohammed (Syria) Ousmane Sembène (Senegal) Abderrahmane Sissako (Mauritania/Mali) Nasir al-Tayyeb al-Mak (Sudan) Curated by Koyo Kouoh and Rasha Salti in collaboration with Alexander Markov and Philippe Rekacewicz 1 “I WAS A TEENAGER WATCHING A BRUCE LEE FLICK WITH MY FRIENDS AT THE CINEMA IN ABIDJAN. BRUCE LEE WAS OUR HERO THEN. AT SOME POINT IN THE PLOT, ONE OF THE BAD GUYS WAS COMING TO ATTACK BRUCE LEE FROM BEHIND WHILE HE WAS UNAWARE, AND SUDDENLY ONE OF THE SPECTATORS IN THE THEATER LEAPT TO THE STAGE AND DUG A KNIFE THROUGH THE BAD GUY’S PROJECTION ON SCREEN. THAT WAS MY FIRST LESSON IN CINEMA.” Philippe Lacôte, filmmaker, Côte d’Ivoire 2 CURATORIAL CONCEPT During the Cold War, the African continent and the Arab world were contested territories for the strategic deployment of influence and allegiance between the Soviet Union and the USA. Cultural diplomacy represented an important realm in which that contest was manifested, specifically through granting scholarships in higher education and the creation of specialized professional national elites whose allegiance would be organically bound to either power. Under the aegis of “international socialist friendship,” the Soviet Union used channels of diplomacy to host a remarkable number of students at universities in Moscow and other cities. -
LA URSS Y ALEMANIA.Maq
La batalla de Berlín a través del cine…. Igor Barrenetxea y David Bravo LA BATALLA DE BERLÍN A TRAVÉS DEL CINE (VISIONES DE LA ANTIGUA URSS FRENTE A LA NUEVA ALEMANIA) 1 Igor Barrenetxea. Universidad del País Vasco E-mail: [email protected] David Bravo. Universidad de Valladolid E-mail: [email protected] Resumen: La visión de los contendientes después de un conflicto a través de los medios de comunicación marcan profundamente la idea que la sociedad se hace sobre esos países beligerantes. Es decir, la visión que queda en la retina de la sociedad es la que se ha reflejado a través de sus obras culturales. Por ello, en este artículo se analiza esa visión que se tiene de la Batalla de Berlín a través del cine, tanto el producido en la URSS como en Alemania, y como esa visión evoluciona desde el final de la guerra hasta la actualidad. Palabras clave: Batalla, Berlín, Alemania, URSS, Cine. Abstract: he warring factions’ views after a conflict through the mass media deeply mark the idea that society is made over those warlike countries. That is to say, the view of the society that is recorded in our brains is the one that has been reflected through its cultural works. Thus, in this article that view about the Battle of Berlin through the cinema, is analyzed, whether produced in the USSR and Germany, and how that vision evolved since the end of the war until today. Keywords: Battle, Berlin, Germany, USSR, Cinema. 1 Recibido: 14/5/2012. Aceptado: 26/5/2012. Publicado: 10/06/2012. -
Junio 2021-Abril 2022 Ciclo De Cine Bélico En Rusia
Cartel de la película La batalla de Moscú Cartel de la película La batalla CICLO DE CINE BÉLICO EN RUSIA LA EPOPEYA DE UN PUEBLO JUNIO 2021-ABRIL 2022 coleccionmuseoruso.es Rusia, convertida en nación a partir de la constitución de la Rus de Kiev en el siglo X, es el resultado de la obstinación y la resistencia de las variadas etnias que componen el país, por mantenerse unida, nucleada en una religión, la de la Iglesia Ortodoxa, y un idioma hegemónico, el ruso, escrito en un alfabeto, el cirílico, que sólo a ellos pertenece. La unión de la nación rusa tuvo diversas fórmulas, desde la fórmula imperial de la época zarista en la que no se reconocía la variedad de sus pueblos, la fórmula federalista de la Unión Soviética o la independencia actual de aquellas repúblicas en la que Rusia es la República Federativa de Rusia. Con una expansión territorial que comenzó a tomar forma con Iván el Terrible y que tuvo su mayor velocidad de expansión con Pedro I el Grande y Catalina II la Grande, su acontecer histórico, su permanencia, se debe a un constante y épico batallar contra adversarios muy diversos hasta 1945, tal como muestra este ciclo de cine. Desde los orígenes de Rusia con enfrentamientos con bizantinos y tártaros, hasta la Segunda Guerra Mundial, que causó entre 27 y 37 millones de muertes de ciudadanos soviéticos, civiles y militares, que supuso el momento en que más cerca estuvo Rusia de desaparecer, fueron suecos, turcos, franceses, japoneses, polacos, alemanes y coaliciones occidentales los principales adversarios del pueblo ruso.