Soviet Cinema of the Sixties

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Soviet Cinema of the Sixties W&M ScholarWorks Arts & Sciences Articles Arts and Sciences 2018 The Unknown New Wave: Soviet Cinema of the Sixties Alexander V. Prokhorov College of William & Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/aspubs Part of the Modern Languages Commons, and the Slavic Languages and Societies Commons Recommended Citation Prokhorov, Alexander V., The Unknown New Wave: Soviet Cinema of the Sixties (2018). Cinema of the Thaw retrospective. https://scholarworks.wm.edu/aspubs/873 This Article is brought to you for free and open access by the Arts and Sciences at W&M ScholarWorks. It has been accepted for inclusion in Arts & Sciences Articles by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. 2 22 de mai a 3 de jun CINEMA 1 e A CAIXA é uma empresa pública brasileira que prima pelo respeito à diversidade, e mantém comitês internos atuantes para promover entre os seus empregados campanhas, programas e ações voltados para disseminar ideias, conhecimentos e atitudes de respeito e tolerância à diversidade de gênero, raça, orientação sexual e todas as demais diferenças que caracterizam a sociedade. A CAIXA também é uma das principais patrocinadoras da cultura brasileira, e destina, anualmente, mais de R$ 80 milhões de seu orçamento para patrocínio a projetos nas suas unidades da CAIXA Cultural além de outros espaços, com ênfase para exposições, peças de teatro, espetáculos de dança, shows, cinema, festivais de teatro e dança e artesanato brasileiro. Os projetos patrocinados são selecionados via edital público, uma opção da CAIXA para tornar mais democrática e acessível a participação de produtores e artistas de todo o país. A mostra NOUVELLE VAGUE SOVIÉTICA exibirá filmes nunca antes exibidos no Brasil de um período de conflito e muito controverso da União Soviética, proporcionando a democratização do acesso à história e cultura daquele país, e fomentando a discussão estético filosófica da arte cinematográfica daquela época. Ao patrocinar mais esta mostra para o público carioca, a CAIXA reafirma sua política cultural de estimular a discussão e a disseminação de ideias, promover a pluralidade de pensamento, mantendo viva sua vocação de democratizar o acesso à produção artística contemporânea. CAIXA ECONÔMICA FEDERAL TEXTOS NOTAS SOBRE UMA ERA DE INCERTEZAS 9 A DESCONHECIDA NOUVELLE VAGUE: CINEMA SOVIETICO DOS ANOS 60 15 POS-MEMORIA, CONTRAMEMORIA CINEMA SOVIETICO DOS ANOS 60 41 A TRANSMISSAO DO SEGREDO - MIKHAIL ROMM NO VGIK 59 ENTREVISTAS MARLEN KHUTSIEV: TUDO COMECOU ASSIM 73 SERGEI PARAJANOV 93 MURATOVA: ENTREVISTA COM UMA LENDA VIVA DO CINEMA UCRANIANO 109 O ARTISTA NA RUSSIA ANTIGA E NA NOVA UNIAO SOVIETICA 123 UMA EMPREITADA OBSTINADA PELA VERDADE HISTORICA: ALEKSEI GERMAN 139 SINOPSES 156 MINI-BIOS 160 CREDITOS 164 NOTAS SOBRE UMA ERA DE INCERTEZAS POR PEDRO HENRIQUE FERREIRA & THIAGO BRITO Há um forte grau de ironia quando um dos alunos de Dyuyshen (Bolot Beyshenaliev), protagonista de O primeiro professor, lhe indaga sobre o sentido da morte. O bolchevique forasteiro chegou ao pequeno vilarejo, em uma região fronteiriça da União Soviética, e montou sua escola em um estábulo improvisado. Foi zombado pelos locais, mas sua insistência lhe angariou alguns alunos. Pregava o comunismo como um culto, idolatrando a figura de Lenin e mandando as crianças repetirem as palavras de ordem como num mantra. E, então, pergunta se alguém ficou com alguma dúvida. O irônico é que, depois de dias proferindo os valores comunistas, o jovem aluno lhe faz uma pergunta metafísica: a verdade de Kierkegaard contra a de Marx. O Degelo abriu as portas para um novo tipo de cinema a ser realizado dentro da União Soviética. Após o desenvolvimento heroico do chamado “realismo socialista”, estética característica da era Stalinista e das diretrizes do partidão, os novos cineastas egressos da VGIK, principal faculdade de cinema do bloco, estavam entusiasmados pelas promessas de liberdade de Kruschev. Após a denúncia dos expurgos stalinistas em 1956, houve um hiato no regime que permitiu um certo incentivo de experimentação herdado de mestres como Mikhail Romm. Graças ao veterano, dentro do campo cinematográfico soviético, que construir uma coletividade que narrativas, personagens complexos, tiveram a possibilidade de embarcar em fazendo com que o período que se estende sobrevivesse às vicissitudes do tempo nuançados, em uma perspectiva menos uma aventura cinematográfica radical, entre 1956 até o final da década de 80 seja e à passagem do bastão era uma tarefa generalista e mais subjetiva, invertendo pautada pela necessidade de encontrar permeado por momentos de liberdade que exigia um esforço de conciliação, e sensivelmente os papéis até então uma renovação e explorar os sentidos estética até então sem precedentes não de submissão. A questão se desenha estabelecidos pelo tabuleiro stalinista. da experiência de viver dentro de uma dentro da União Soviética, - uma liberdade no cinema desta época das mais diversas Deixando de lado a padronização do ideal sociedade revolucionária já não tão tão convulsiva que contrastava com os formas, seja no antonionismo de Khutsiev e do modelo, Larisa Shepitko, Elem Klimov, convicta de seus próprios caminhos. eventuais espasmos de autoritarismo e ou no fordismo de Konchalovsky.Em Andrei Tarkovski, Marlen Khutsiev e seus censura, ao ponto de termos um cineasta, um primeiro momento, estes cineastas contemporâneos realizam trabalhos A era pós-stalinista pode ser vista como um como Alexandr Askoldov, exilado de se debaterão com o legado stalinista pessoais, assumindo-se enquanto autores período de crise e de ruptura, um momento Moscou e proibido de realizar filmes no do realismo social. A consciência do – em consonância com o movimento geral onde velhas ideias sobre a trajetória e o bloco por conta de seu primeiro e único passado obscuro das primeiras décadas das nouvelles vagues europeias - cujas futuro revolucionário irão se chocar com longa-metragem, A comissária. de formação da União Soviética, marcada obras exploram tanto a complexidade da a perspectiva de uma nova geração, onde pelo uso de campos de trabalho forçado vida dentro da União Soviética, quanto paradigmas até então estabelecidos a Estava em pauta a dialética inconciliável e de extermínio de opositores políticos, suas próprias crenças estéticas, filosóficas ferro e fogo encontram dificuldade para entre a evolução de uma comunidade e a desmascara a narrativa otimista, heróica e e subjetivas. Incentivados dentro da VGIK reverberar nos corações e mentes daqueles liberdade individual – entre o desenrolar panfletária dos filmes pré-segunda guerra por uma busca de sua própria visão, tanto que não estiveram presente em 1917. Não material-histórico e a necessidade de mundial. Os cineastas da era Kruschev e nas oficinas de Mikhail Romm, como nas é que suas ânsias fossem plenamente se fazer perguntas íntimas – em última Brezhnev encontrarão uma necessidade de aulas de Savchenko, os jovens cineastas outras quando comparadas com uma instância, entre a cultura e a natureza, revisão estética e política destas figuras e da Nouvelle Vague Soviética realizam uma geração anterior, mas onde estavam a história do comunismo contra a narrativas, em um acerto de contas com o equação cinematográfica que, no mais das os valores morais exatamente? Onde experiência de descoberta individual. Mas legado pós-guerra, que no fundo se revela vezes, parte de um olhar que se posiciona poderiam despertar em seu íntimo estas o conflito não deveria ser resolvido com uma tentativa de desembaraçar o olhar e dentro de um espaço e tempo visto como verdades que lhes eram ditas como que uma canetada. Não se trata de escolher um assumir as questões de seu presente mais abismo, um corpo a corpo com a vida numa vitrola arranhada, quando tudo o que dos lados e eliminar o outro. O importante imediato, as novas referências e elementos dentro da União Soviética, buscando unir, viam eram estátuas monumentais, regras era evidenciar os meandros deste conflito, que viriam a caracterizar e diferenciar a sua a seu modo, os sentimentos íntimos de invioláveis sem fundamento e castigos mantendo vivas as duas partes do dilema. geração da anterior. Se o período stalinista suas memórias, desejos e delírios, com brutais? Portanto, este período foi marcado Nem a rejeição pura ao coletivismo, elaboraria aquilo que podemos chamar de as palavras de ordem proferidas pelo por uma fricção, por uma dificuldade de que direciona o indivíduo à solidão e ao o “homem soviético”, aquele que aglutina discurso central.Não à toa, a imagem da Chuva de Julho diálogo entre ambas as partes: as ideias elitismo, por exemplo, em ; as características morais e revolucionárias criança ou do jovem forçado a assumir uma dos mais velhos parecem autoritárias e e tampouco a crença cega e proselitista corretas, assim como uma visão realista atitude de adulto ocupa um lugar central O primeiro professor sem lugar para os jovens; as aspirações nele, ilustrada em , que do mundo, onde havia um privilégio do no imaginário da cinematografia produzida ipsis literis dos mais jovens são vistas como perigosas executa o projeto modernista a geral em detrimento do subjetivo, sempre por estes realizadores, de Bem vindo ou à manutenção do regime socialista, na e derruba a árvore mais tradicional do em sintonia com as determinações diretas Entrada proibida a Infância de Ivan, Balada de perspectiva dos mais velhos. Este conflito vilarejo para erigir a sua escola. Tratava- do partido
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