DOCSLIB.ORG

The Distribution, Censorship and Reception of German Films in Soviet Russia of the 1920S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Distribution, Censorship and Reception of German Films in Soviet Russia of the 1920S Natalja Poljakowa The Distribution, Censorship and Reception of German films in Soviet Russia of the 1920s School of Modern Languages, Literatures & Cultures Royal Holloway, University of London, United Kingdom A dissertation submitted in fulfilment of the degree of Doctor of Philosophy 2015 2 Declaration I declare that this dissertation was composed by myself, the work contained herein is my own except where explicitly stated otherwise in the text and that this work has not been submitted for any other degree or professional qualification except as specified. Natalja Poljakowa 3 Abstract Despite the huge amount of research on European cinema of the 1920s, little attention has been paid to the influence of cross-cultural encounters on the trajectory of national film histories. This study argues that Soviet film was shaped by the reception of German film to an extent that existing scholarship has not acknowledged. It focuses on the impact of German and Austrian films on the revival of the Soviet film industry in the period of the New Economic Policy. German films helped to fill in the gaps in Soviet film distribution, as until the mid- 1920s Soviet Russia was not able to revive its own film production and entirely relied on foreign film imports. However, all imported films were thoroughly examined, classified and, in most of cases, ‘adjusted’ to the Soviet ideology through re-editing. This thesis explores previously ignored aspects of the film exchange between the Weimar Republic and Soviet Russia: the process of selection and purchase, the censorship control over content, the reception of the films in little-known periodicals and film brochures and, finally, the influence of the imported productions on the Soviet audience. The thesis attempts for the first time to describe the mechanisms and the process of film censorship in Soviet Russia of the 1920s, with particular attention to censorship policy towards foreign cinema. Describing the German productions that reached Soviet film theatres after 1922, the thesis explores the attitude to foreign cinema in the context of the ideologically-uncompromising Soviet censorship, with the focus on the conflict between the inviolability of an author’s conception and the ideological necessity of film re-editing. The thesis offers an analysis of the cultural dialogue between the Weimar Republic and Soviet Russia on the basis of the rare archival material and the surviving copies of the re-edited German films in the Russian State Film Archive. 4 Acknowledgements First of all I would like to thank my supervisor Dr Jon Hughes for his patience and academic support, for hours of insightful conversations about film and literature, and, most of all, for watching this long Russian-German drama with me. I am grateful to Royal Holloway, University of London for providing the funding which allowed me to undertake my research. I am very grateful to James Lewis for his first aid English language support, for being ready to answer my midnight mayday calls and for his incredible sense of humour that kept me alive when it was almost impossible. I would like to especially thank film historians, archivists and friends from the Russian State Film Archive (Gosfilmofond), and in particular Petr Bagrov, Evgeny Margolit, and Anna Malguina - for beautiful nitrate films, poetry, Gérard and burning passion to cinema. Special mention goes to my colleagues in the Austrian Film Museum: Adelheid Heftberger and Oliver Henley who gave me a very warm welcome in the months of my internship, and the head of the archival collections Paolo Caneppele who made me fall in love with amateur films. I would like to extend thanks to many people, in many countries, who so generously contributed to the work presented in this thesis. To all the Viennese for repeatedly breaking my heart and gluing it back again. To my precious friends in Berlin, Moscow, Saint Petersburg, Bologna, Udine, Pordenone and Syktyvkar who gave me shelter during my research travels and helped with friendly support and much needed distraction. The film festivals Le Cinema Muto in Pordenone where it all started and Il Cinema Ritrovato in Bologna where it all continued. My London family – ScooterCaffe, – for proving that negroni-making can actually fund a PhD. Natasha and Ariadne Arendt for a magic cup of Crimean tea and a bit of witchcraft when I needed to keep on working. Louisa Jones, Ewan Bleach and Dakota Jim for jazzing it all up in the 1920s style. My closest friends - ‘Brainy Barmaid’ Georgina Richards Pringle, Joni Mimu and Emma Wilson - for inspiration, poverty, films, tears, despair, displacement, Chantal Akerman, talks, and friendship that has no boundaries. Words cannot express how grateful I am to my family, and to my dear grandfather Franz Schweizer, who passed away when I was still working on my thesis. And, above all, I want to thank Mitya, without whose love, care, patience and faith in me nothing would be possible. 5 Table of Contents Table of Contents ....................................................................................... 5 Note on Transliteration and Translation ................................................. 8 Chapter 1: Introduction ............................................................................ 9 1. German-Soviet relationships in film in the 1920s.......................................... 9 2. In the distorting mirror: Re-establishing connections between Weimar Germany and Soviet Russia ............................................................................. 11 3. The problem of demarcating periods ........................................................... 14 4. The structure of the thesis and general remarks ........................................... 19 6. What are the films? Notes on the research material ..................................... 27 Chapter 2: Between the imaginary and the authentic: Political, social and cultural implications of German-Soviet relations in film ............. 30 1. ‘Distribution is a de facto organiser of all film industry’: The importance of the reconstruction of foreign film distribution in post-revolutionary Russia ... 31 2. Searching for balance: German and Soviet strategies of support for domestic production ........................................................................................................ 35 3. Chronology of the development and institutionalisation of the Soviet film industry ............................................................................................................. 37 4. The development and distribution activity of private Soviet film companies. ........................................................................................................ 49 5. The problem of the first German films in the Soviet market ....................... 59 6. Filmland Friedrichstrasse: Soviet film dealers in Berlin.............................. 66 7. Between reality and stereotypes: Russians in the Weimar Republic and the genre of Russenfilme........................................................................................ 74 Chapter 3: ‘Béla Forgets the Scissors’: Developing the Mechanisms of Film Censorship ....................................................................................... 88 6 1. ‘A good school for a filmmaker’: Opening remarks .................................... 88 2. The origins of the Soviet film censorship system ........................................ 95 3. Sources and methodology ............................................................................ 98 4. The development of censorship policy: Imposing restrictions on film distribution under the NEP ............................................................................. 100 5. Glavrepertkom and centralization of censorship control ........................... 108 6. ‘Scissors of revolution’: The work of the Soviet re-editors on German film ................................................................................................................. 115 Chapter 4: Maintaining ‘Unified Repertoire Policy’: Soviet Censorship Criteria as Instruments for Ideological Control ................................. 132 1. Censorship criteria applied to German films ............................................. 132 a) ‘Works of pornographic character’ ........................................................ 135 b) ‘Bul’varshchina’ .................................................................................... 150 c) ‘Religious propaganda’ .......................................................................... 161 d) ‘Mysticism’ ............................................................................................ 165 e) ‘Meshchanstvo’. ..................................................................................... 172 f) Other criteria ........................................................................................... 177 2. German films that received positive reviews. ............................................ 182 Chapter 5: ‘In Caligari’s Circle’: Soviet Reception of German Films .................................................................................................................. 187 1. From censorship to exhibition: Introductory notes .................................... 187 2. Soviet film periodicals and the first imported German films ..................... 189 3. ‘Art is never apolitical’: Ideological controversy ...................................... 198 4. German film: Pro et contra ........................................................................
Load more

Recommended publications
  • Spaces and Identities in Border Regions
    Christian Wille, Rachel Reckinger, Sonja Kmec, Markus Hesse (eds.) Spaces and Identities in Border Regions Culture and Social Practice Christian Wille, Rachel Reckinger, Sonja Kmec, Markus Hesse (eds.) Spaces and Identities in Border Regions Politics – Media – Subjects Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Natio- nalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de © 2015 transcript Verlag, Bielefeld All rights reserved. No part of this book may be reprinted or reproduced or uti- lized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any infor- mation storage or retrieval system, without permission in writing from the publisher. Cover layout: Kordula Röckenhaus, Bielefeld Cover illustration: misterQM / photocase.de English translation: Matthias Müller, müller translations (in collaboration with Jigme Balasidis) Typeset by Mark-Sebastian Schneider, Bielefeld Printed in Germany Print-ISBN 978-3-8376-2650-6 PDF-ISBN 978-3-8394-2650-0 Content 1. Exploring Constructions of Space and Identity in Border Regions (Christian Wille and Rachel Reckinger) | 9 2. Theoretical and Methodological Approaches to Borders, Spaces and Identities | 15 2.1 Establishing, Crossing and Expanding Borders (Martin Doll and Johanna M. Gelberg) | 15 2.2 Spaces: Approaches and Perspectives of Investigation (Christian Wille and Markus Hesse) | 25 2.3 Processes of (Self)Identification(Sonja Kmec and Rachel Reckinger) | 36 2.4 Methodology and Situative Interdisciplinarity (Christian Wille) | 44 2.5 References | 63 3. Space and Identity Constructions Through Institutional Practices | 73 3.1 Policies and Normalizations | 73 3.2 On the Construction of Spaces of Im-/Morality.
    [Show full text]
  • CHAPTER 2 the Period of the Weimar Republic Is Divided Into Three
    CHAPTER 2 BERLIN DURING THE WEIMAR REPUBLIC The period of the Weimar Republic is divided into three periods, 1918 to 1923, 1924 to 1929, and 1930 to 1933, but we usually associate Weimar culture with the middle period when the post WWI revolutionary chaos had settled down and before the Nazis made their aggressive claim for power. This second period of the Weimar Republic after 1924 is considered Berlin’s most prosperous period, and is often referred to as the “Golden Twenties”. They were exciting and extremely vibrant years in the history of Berlin, as a sophisticated and innovative culture developed including architecture and design, literature, film, painting, music, criticism, philosophy, psychology, and fashion. For a short time Berlin seemed to be the center of European creativity where cinema was making huge technical and artistic strides. Like a firework display, Berlin was burning off all its energy in those five short years. A literary walk through Berlin during the Weimar period begins at the Kurfürstendamm, Berlin’s new part that came into its prime during the Weimar period. Large new movie theaters were built across from the Kaiser Wilhelm Memorial church, the Capitol und Ufa-Palast, and many new cafés made the Kurfürstendamm into Berlin’s avant-garde boulevard. Max Reinhardt’s theater became a major attraction along with bars, nightclubs, wine restaurants, Russian tearooms and dance halls, providing a hangout for Weimar’s young writers. But Berlin’s Kurfürstendamm is mostly famous for its revered literary cafés, Kranzler, Schwanecke and the most renowned, the Romanische Café in the impressive looking Romanische Haus across from the Memorial church.
    [Show full text]
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • The Crisis Manager the Jacobsohn Era, 1914 –1938 INTRODUCTION
    CHRONICLE 05 The crisis manager The Jacobsohn era, 1914 –1938 INTRODUCTION From the First World War to National Socialism A world in turmoil “Carpe diem” – seize the day. This Latin motto is carved over their positions. Beyond the factory gates, things on the gravestone of Dr. Willy Jacobsohn in Los Angeles were also far from peaceful: German society took a long and captures the essence of his life admirably. Given time to recover from the war. The period up until the the decades spanned by Jacobsohn’s career, this out- end of 1923 was scourged by unemployment, food and look on everyday life made a lot of sense: after all, housing shortages, and high inflation. The “Golden his career at Beiersdorf took place during what was Twenties” offered a brief respite, but even in the heyday arguably the most turbulent period in European history. of Germany’s first democracy, racist and anti-Semitic In fact, there are quite a few historians who describe feelings were simmering below the surface in society the period between 1914 and 1945 as the “second and politics, erupting in 1933 when the National Socia- Thirty Years War.” lists came to power. Jewish businessman Jacobsohn The First World War broke out shortly after Jacob- was no longer able to remain in Germany and, five years sohn joined the company in 1914. Although the war later, was even forced to leave Europe for America. ended four years later, Beiersdorf continued to suffer However, by then he had succeeded in stabilizing the crisis after crisis. Dr. Oscar Troplowitz and Dr.
    [Show full text]
  • 1 Veit Harlan and Jud Süß – Conrad Veidt and Jew Süss Veit Harlan And
    1 Veit Harlan and Jud Süß – Conrad Veidt and Jew Süss Veit Harlan and Conrad Veidt were both associated with the flowering of German stage and cinema in the Weimar Republic. Veidt, born in 1893, was already a major figure, starring in productions like The Cabinet of Dr.Caligari that made cinema history. Harlan, seven years younger, was beginning to make a name for himself on the stage. When Hitler came to power their paths diverged diametrically. Harlan was an opportunist, made his peace with the regime and acquired a reputation as a director of films. Later he and his second wife, Hilde Körber, became friends of Goebbels. In April 1933 Conrad Veidt, who had just married his Jewish third wife, Lily Prager, left Germany after accepting the role of the German Commandant in the British film I was a Spy . When he returned to Germany the Nazis detained him to stop him taking the lead role in the projected British Jew Süss film. He eventually got out, but his acceptance of the role made the breach with his native country irrevocable. Six years later Harlan was persuaded by Goebbels to take on the direction of Jud Süß , the most notorious but also one of the most successful of the films made under the auspices of the Nazi Propaganda Ministry. Kristina Söderbaum, then his wife, took the female lead. In the meantime Conrad Veidt had moved to Hollywood and in 1942 appeared as Major Strasser, the German officer, in Casablanca , a role for which he is probably best known in the Anglo-Saxon world.
    [Show full text]
  • A Study of the Space That Shaped Weimar Berlin Carrie Grace Latimer Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2014 The lotP s of Alexanderplatz: A Study of the Space that Shaped Weimar Berlin Carrie Grace Latimer Scripps College Recommended Citation Latimer, Carrie Grace, "The lotsP of Alexanderplatz: A Study of the Space that Shaped Weimar Berlin" (2014). Scripps Senior Theses. Paper 430. http://scholarship.claremont.edu/scripps_theses/430 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE PLOTS OF ALEXANDERPLATZ: A STUDY OF THE SPACE THAT SHAPED WEIMAR BERLIN by CARRIE GRACE LATIMER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR MARC KATZ PROFESSOR DAVID ROSELLI APRIL 25 2014 Latimer 2 TABLE OF CONTENTS Acknowledgements 3 Introduction 4 Chapter One: Berlin Alexanderplatz: The Making of the Central Transit Hub 8 The Design Behind Alexanderplatz The Spaces of Alexanderplatz Chapter Two: Creative Space: Alfred Döblin’s Berlin Alexanderplatz 23 All-Consuming Trauma Biberkopf’s Relationship with the Built Environment Döblin’s Literary Metropolis Chapter Three: Alexanderplatz Exposed: Rainer Werner Fassbinder’s Film 39 Berlin from Biberkopf’s Perspective Exposing the Subterranean Trauma Conclusion 53 References 55 Latimer 3 Acknowledgements I wish to thank all the people who contributed to this project. Firstly, to Professor Marc Katz and Professor David Roselli, my thesis readers, for their patient guidance, enthusiastic encouragement and thoughtful critiques.
    [Show full text]
  • * Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
    * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film
    [Show full text]
  • The Importance of the Weimar Film Industry Redacted for Privacy Abstract Approved: Christian P
    AN ABSTRACT OF THE THESIS Tamara Dawn Goesch for the degree of Master of Arts in Interdisciplinary Studies in Foreign Languages and Litera- tures (German), Business, and History presented on August 12, 1981 Title: A Critique of the Secondary Literature on Weimar Film; The Importance of the Weimar Film Industry Redacted for Privacy Abstract approved: Christian P. Stehr Only when all aspects of the German film industry of the 1920's have been fully analyzed and understood will "Weimar film" be truly comprehensible. Once this has been achieved the study of this phenomenon will fulfill its po- tential and provide accurate insights into the Weimar era. Ambitious psychoanalytic studies of Weimar film as well as general filmographies are useful sources on Wei- mar film, but the accessible works are also incomplete and even misleading. Theories about Weimar culture, about the group mind of Weimar, have been expounded, for example, which are based on limited rather than exhaustive studies of Weimar film. Yet these have nonetheless dominated the literature because no counter theories have been put forth. Both the deficiencies of the secondary literature and the nature of the topic under study--the film media--neces- sitate that attention be focused on the films themselves if the mysteries of the Weimar screenare to be untangled and accurately analyzed. Unfortunately the remnants of Weimar film available today are not perfectsources of information and not even firsthand accounts in othersour- ces on content and quality are reliable. However, these sources--the films and firsthand accounts of them--remain to be fully explored. They must be fully explored if the study of Weimar film is ever to advance.
    [Show full text]
  • INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master
    INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. AccessingiiUM-I the World's Information since 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA Order Number 8812304 Comrades, friends and companions: Utopian projections and social action in German literature for young people, 1926-1934 Springman, Luke, Ph.D. The Ohio State University, 1988 Copyright ©1988 by Springman, Luke. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 COMRADES, FRIENDS AND COMPANIONS: UTOPIAN PROJECTIONS AND SOCIAL ACTION IN GERMAN LITERATURE FOR YOUNG PEOPLE 1926-1934 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Luke Springman, B.A., M.A.
    [Show full text]
  • Mickey Mayhew Phd Final2018.Pdf
    ‘Skewed intimacies and subcultural identities: Anne Boleyn and the expression of fealty in a social media forum’ Mickey Mayhew A Thesis submitted in fulfilment of the requirements for the degree of Doctor of Sociology at London South Bank University Supervisors: Doctor Shaminder Takhar (Director of Studies) and Doctor Jenny Owen Faculty of Arts and Human Sciences, Department of Social Sciences & Department of Media and Cultural Studies, London South Bank University 1 Abstract The aim of this research project was the investigation of a subculture surrounding the famous Tudor queen Anne Boleyn; what that possible subculture means for those involved, and if it constituted part of a new phenomenon of female orientated online subcultures; cybersubcultures. Through the analysis of film, TV, historical literature and fiction, the research illustrates how subcultures are perpetuated through generations cyclically. The research then documents the transition from the traditional or ‘classic’ subcultural model of the 60s to the 21st century cybersubculture and fandom, suggesting a new way of thinking about subcultures in a post-subcultural age. The research suggests that the positioning of Anne Boleyn as a feminist icon/role model, based mainly on a media-mediated image, has formed a subculture which thrives on disjointed imagery and discourse in order to form a subculture of peculiarly subtle resistance. This new cybersubculture reflects the ways in which women are now able to use social media to form communities and to communicate, sharing concerns over men and marriage, all whilst percolating around the media-mediated image of Anne Boleyn as their starting point. These interactions – and the similarities they shared with the ‘classic’ subcultural style - form the data for this research project.
    [Show full text]
  • Gesture and Movement in Silent Shakespeare Films
    Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By Jennifer Rebecca Collins, B.A. Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Alan Woods, Advisor Janet Parrott Copyright by Jennifer Rebecca Collins 2011 Abstract The purpose of this study is to dissect the gesticulation used in the films made during the silent era that were adaptations of William Shakespeare's plays. In particular, this study investigates the use of nineteenth and twentieth century established gesture in the Shakespearean film adaptations from 1899-1922. The gestures described and illustrated by published gesture manuals are juxtaposed with at least one leading actor from each film. The research involves films from the experimental phase (1899-1907), the transitional phase (1908-1913), and the feature film phase (1912-1922). Specifically, the films are: King John (1899), Le Duel d'Hamlet (1900), La Diable et la Statue (1901), Duel Scene from Macbeth (1905), The Taming of the Shrew (1908), The Tempest (1908), A Midsummer Night's Dream (1909), Il Mercante di Venezia (1910), Re Lear (1910), Romeo Turns Bandit (1910), Twelfth Night (1910), A Winter's Tale (1910), Desdemona (1911), Richard III (1911), The Life and Death of King Richard III (1912), Romeo e Giulietta (1912), Cymbeline (1913), Hamlet (1913), King Lear (1916), Hamlet: Drama of Vengeance (1920), and Othello (1922). The gestures used by actors in the films are compared with Gilbert Austin's Chironomia or A Treatise on Rhetorical Delivery (1806), Henry Siddons' Practical Illustrations of Rhetorical Gesture and Action; Adapted to The English Drama: From a Work on the Subject by M.
    [Show full text]
  • No List of Political Assets
    Slavistische Beiträge ∙ Band 248 (eBook - Digi20-Retro) Jerry T.Heil No List of Political Assets The Collaboration of Iurii Olesha and Abram Room on "Strogii Iunosha" [A Strict Youth (1936)] Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access 00050392 Sl a v is t ic h e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 248 VERLAG OTTO SAGNER MÜNCHEN Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access 00050392 JERRY T. HEIL NO LIST OF POLITICAL ASSETS: The Collaboration of lurii Olesha and Abram Room “ Strogii lunosha” [A Strict Youth (1936)] VERLAG OTTO SAGNER • MÜNCHEN 1989 Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access ISBN 3-87690-449-8 © Verlag Otto Sagner, München 1989 Abteilung der Firma Kubon & Sagner, München Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access Acknowledgments The research that led to this essay (and others) was made possible by a grmt from the International Research and Exchanges Board (IREX)f Princeton, New Jersey, an agency partially funded by the United States' N a tia ia l Endowment fo r the H um anities, W ashington, D.C.
    [Show full text]