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An Auteur Study of Kira Muratova Focusing on the Films Two in One and Melody for a Street Organ
An Auteur Study of Kira Muratova Focusing on the Films Two in One and Melody for a Street Organ A Master’s Thesis for the Degree Master of Arts (Two Years) in Visual Culture Helena Tomasson Spring semester 2012 Supervisor: Ingrid Stigsdotter Helena Tomasson Abstract LUND UNIVERSITY DIVISION OF ART HISTORY AND VISUAL STUDIES/FILM STUDIES MASTER OF ARTS IN VISUAL CULTURE An Auteur Study of Kira Muratova Focusing on the Films Two in One and Melody for a Street Organ by Helena Tomasson This thesis is dedicated to the cinema art of Kira Muratova with the focus on the theme of grotesque. Kira Muratova shot films of different genres; mixing styles, creating a new reality of cinema, mixing audio-visualization of people with animals, classical literature with slang, including photography and pornography, installation, performance, opera and ballet. Due to this fact, her films provide rich objects of research in Visual Culture Studies. This study is concerned with the audio-visual effects, images and scenes connected to the theme of grotesque in the auteur cinema of Kira Muratova. Deliberately departing from the possible socio-historical context, the author of the project presents intertextuality of Muratova's film. This thesis includes a detailed analysis of images and shots of several films with a focus on grotesque and along with general description of the director’s main devices. It searches for meanings, denotations and connotations in the films’ images as the essential elements of the films. In addition to an overview of the whole art of director and auteur features, the project deals in more details with two recent films by Muratova— Two in One (2006) and Melody for a Street Organ (2009). -
American Association for the Advancement of Slavic Studies 40Th
American Association for the Advancement of Slavic Studies 40th National Convention November 20–23, 2008 Philadelphia Marriott Downtown Philadelphia, Pennsylvania American Association for the Advancement of Slavic Studies 8 Story Street, 3rd fl oor Cambridge, MA 02138 tel.: 617-495-0677, fax: 617-495-0680 e-mail: [email protected] web site: www.aaass.org iii CONTENTS Convention Schedule Overview ................................................................. iv List of the Meeting Rooms at the Philadelphia Marriott Downtown ............ v Diagrams of Meeting Rooms at the Philadelphia Marriott Downtown.....vi-ix Exhibit Hall Diagram ...................................................................................x Index of Exhibitors, Alphabetical................................................................ xi Index of Exhibitors, by Booth Number .......................................................xii 2008 AAASS Board of Directors ...............................................................xiii AAASS National Offi ce .............................................................................xiii Program Committee for the 2008 Convention ..........................................xiii AAASS Affi liates .......................................................................................xiv 2008 AAASS Institutional Members ......................................................... xv Program Summary ...................................................................................xvi Important Meeting Notes ......................................................................xxxvi -
Central European.Indb
The First Five Years with no Plan: Building National Cinema in Ukraine, 1992-1997 Bohdan Y. Nebesio Brock University 265 Th e disintegration of the Soviet empire in 1991 along national lines took Kremlin leaders and Western Sovietologists by surprise.1 Th e class solidarity which, accord- ing to Soviet propaganda, united workers of brotherly nations proved to be a utopian concept insuffi cient to keep a multinational state together. Th e Moscow-based centr- alised system that autocratically designed the well-being of culturally varied peoples failed again.2 For the fi rst time in many decades (or even centuries) numerous nations have been defi ning their political, economic and, quite oft en, cultural identities. How does a nation with long cultural traditions start to build national institutions to pre- serve its culture? How can the slogans of cultural independence that win popular support be converted into reality? How can the cultural needs of a newly independent state be satisfi ed when its priorities lie elsewhere? Th is paper looks at Ukraine, the largest of the former Soviet republics. It covers the last three years of the Soviet Ukrainian cinema (1989-91) and the fi rst fi ve years of cinema in independent Ukraine (1991-1997). Th e fi rst part describes the state of the fi lm industry Ukraine inherited from the Soviet Union. In the second part I explore the eff orts—artistic, economic, political and organizational—undertaken to rebuild a national fi lm industry and focus on critically acclaimed fi lmmakers and their fi lms which formed the new canon of Ukrainian cinema. -
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. -
Sl7 Soviet and Russian Cinema
SL7 SOVIET AND RUSSIAN CINEMA Course convenors: Emma Widdis (ekw1000); Samuel Goff (sg466) SL7: 2020-21 Contents of Handbook 1. Summary 3 2. Viewing and reading lists 4 Topic 1: Revolutionary Film Culture: From Boulevard to Avant-Garde 5 Topic 2: From Silence to Sound: Eisenstein, Vertov and FEKS 8 Topic 3: The Other Soviet Classics: Popular Cinema in the Stalin Era 9 Topic 4: Soviet Cinema After Stalin: Rewriting the Past, Confronting the Present 12 Topic 5: Russian Cinema from Perestroika to the Present 15 3. Teaching and Learning Outcomes 19 4. Lecture schedule 20 5. Supervision guidelines and essay titles per topic 20 2 SL7: 2020-21 THE PAPER This course investigates the history of Soviet and Russian cinema from its beginnings in the early 20th century through the present: from early silent comedies and melodramas to the emergence of the avant-garde in the 1920s; from Stalinist blockbusters of the 1930s through the Soviet ‘New Wave’ of the 1960s; from the tumultuous changes of the glasnost’ era through the postmodern challenges of the present. The paper encourages students to explore the work of one or more directors in depth, but it also asks students to think comparatively about the evolution of filmmaking practices, genres and themes across historical periods and changes in political regime. This course is open to students in both Part IB and Part II; it does not assume any prior study of film, but it students will be expected to read a wide range of critical, historical and theoretical texts (in both English and Russian) as essential context for the films under discussion. -
RUSSIAN and SOVIET 1900S, Through the Avant-Garde and PUBLICATIONS and POSTERS Socialist Realism to the Great Patriotic War ! and the 1950S
American Association for the Advancement of Slavic Studies 40th National Convention November 20–23, 2008 Philadelphia Marriott Downtown Philadelphia, Pennsylvania American Association for the Advancement of Slavic Studies 8 Story Street, 3rd fl oor Cambridge, MA 02138 tel.: 617-495-0677, fax: 617-495-0680 e-mail: [email protected] web site: www.aaass.org iii CONTENTS Convention Schedule Overview ................................................................. iv List of the Meeting Rooms at the Philadelphia Marriott Downtown ............ v Diagrams of Meeting Rooms at the Philadelphia Marriott Downtown.....vi-ix Exhibit Hall Diagram ...................................................................................x Index of Exhibitors, Alphabetical................................................................ xi Index of Exhibitors, by Booth Number .......................................................xii 2008 AAASS Board of Directors ...............................................................xiii AAASS National Offi ce .............................................................................xiii Program Committee for the 2008 Convention ..........................................xiii AAASS Affi liates .......................................................................................xiv 2008 AAASS Institutional Members ......................................................... xv Program Summary ...................................................................................xvi Important Meeting Notes ......................................................................xxxvi -
Rozdzielona Wspólnota – the Inoperative Community II
Rozdzielona Wspólnota – The Inoperative Community II Rozdzielona Wspólnota – The Inoperative Community II is an exhibition of experimental narrative film and video made since 1968 that address ideas of community and the shifting nature of social relations. It draws on work made for cinema, television and the gallery, signalling the overlap- ping and entangled histories of these sites. Originally conceived for the gallery Raven Row in London, this new iteration for Muzeum Sztuki includes See last page of booklet for a map of the exhibition. a brand new exhibition design and a revised selection of works. The exhibition’s title combines both Polish and English translations of Jean-Luc Nancy’s 1983 essay, La Communauté désoeuvrée. The essay is translated as The Inoperative Community in English, and as The Divided Community in Polish. Both these translations diverge from the original meaning in French, pointing to one of the central themes of the exhibition: the contrasting socio-political contexts, on either side of the Iron Curtain, for the production and reception of avant-garde film since the end of the 1960s. These diverging translations also register the complexity of theoriz- ing notions of community from these different perspectives. The exhibition focuses on a period that could be described as the West’s long 1970s (1968–84) – all the works were either made during this time, revisit the aesthetic debates and theoretical discourses, or reflect on the social and political movements of the era. French philosopher Alain Badiou has characterised this period as the “red decade”, beginning with national liberation struggles, mass student movements and workers’ revolts, and ending with the abrupt foreclosure of possibilities presented by these events by the rise of neoliberalism. -
Kira Muratova: the Magnificent Maverick
Kira Muratova: The Magnificent Maverick Dina Iordanova DOI: 10.15664/fcj.v0i18.2266 Frames Cinema Journal, Issue 18 (June 2021) Kira Muratova: The Magnificent Maverick Dina Iordanova Kira Muratova (1934-2018) always stood out. She was unlike anyone else: not concerned with trying to fit in, always questioning rules, undermining routines, eternally innovative. In that, she was a maverick. A solitary and magnificent one.1 Continually one of a kind, the fact that she was confined to working in isolation in the deep provinces of Soviet cinema – and, after the collapse of the USSR, at a small Ukrainian studio – did not impede on her originality. During Soviet times, her work was regularly censored. Her interest in exploring relationships and feelings was denounced as “bourgeois.” Her films were not sent to international film festivals – which, in turn, deprived her from the opportunity to see what other, similarly avant-garde directors from around the world, were making. It was not until she was in her fifties – in the second half of the 1980s, the time of perestroika and glasnost – that her work came to be exhibited abroad: first at the women’s film festival in Creteil, and later on at Berlinale, Locarno, Venice where it garnered recognition and brought some secondary awards. Even Cannes organised a catch-up screening for one of her censored films, Среди серых камней/Among Grey Stones (1983), duly acknowledging that a major talent had worked locked away as a pearl in the dark – and had been overlooked. It was only in her final years, and posthumously, that brought recognition: with major panoramas of her work organised by the festivals in La Rochelle, Rotterdam, and elsewhere, and with screenings at the South Bank in London.2 In this belated appreciation, Muratova’s fate is not particularly different from the fate of other female filmmakers, whose work is pushed into oblivion and not really integrated in the re-circulation of cinematic material that constitutes our body of knowledge of film history. -
April 2009 Newsletter
TheAATSEEL NEWSLETTER American Association of Teachers of Slavic & East European Languages Contents Message from the President ...............3 Letter from the Editor ...........................3 State of the Field ...................................7 Member News .......................................9 Everything You Always Wanted to Know about Grammar But Were Afraid to Ask ....................................10 Belarusica .............................................12 Russian at Work ..................................13 Czech Corner .......................................14 Recent Publications ............................14 Cross Cultural Communications .....15 Graduate Student Forum ...................16 Psychology of Language Learning .............................................17 Summer Programs ..............................18 Professional Opportunities ...............24 Volume 52 Issue 2 April 2009 AATSEEL NEWSLETTER Vol. 52, Issue 2 April 2009 AATSEEL NEWSLETTER EDITORIAL STAFF AATSEEL POINTS OF CONTACT Editor: BETTY LOU LEAVER President: Assistant Editor: ANNA JACOBSON CARYL EMERSON Contributing Editors: VALERY BELYANIN Princeton University NANCY CONDEE [email protected] President-Elect: ELENA DENISOVA-SCHMIDT NANCY CONDEE ALINA ISRAELI University of Pittsburgh ALLA NEDASHKIVSKA [email protected] MILA SASKOVA-PIERCE Past President: RACHEL STAUFFER SIBELAN FORRESTER MOLLY THOMASY Swarthmore College [email protected] NINA WIEDA Vice-Presidents: CURT WOOLHISER JULIE BUCKLER NL Coordinates: Harvard University [email protected] -
Eternal Homecoming [Вечное Возвращеиние]
A man visits a woman; he is an old acquaintance from her school years and seeks help to resolve his deadlocked situation. Different actors may duplicate one another as they play the same role, or sometimes the same actors may play the scenario out again, taking on completely different visual styles. Veteran actor Oleg Tabakov, for example, first appears in a standard suit, while actress Alla Demidova wears a19th century granny-style dress; the two then reappear wearing strikingly different fashions: now Tabakov is in a cap and hoodie while Eternal Homecoming Demidova sports a short black wig with a cigar. [Вечное возвращеиние] Duplicated images, and thus blurred identities, emerge in the names of characters as well: the Ukraine, 2012 heroine cannot figure out whether her visitor is Color, 108 minutes Oleg or Iurii. As the heroine points out, the Russian with English subtitles nicknames of his wife, Liuda, and girlfriend, Director: Kira Muratova Liusia, come from the same name. The Screenplay: Kira Muratova director’s typical tactics level out differences Camera: Vladimir Pankov and resist the uniqueness of the characters. Cast: Renata Litvinova, Oleg Tabakov, Sergei Only when the film has progressed to Makovetskii, Anna Demidova, Vitalii the middle does the trick become apparent: the Linetskii, Natal'ia Buz'ko, Georgii Deliev, Uta scenes turn out to be fragments of casting Kil'ter, Iurii Nevgamonyi, Gennadii Skarga, auditions by a deceased film director. In order Evgeniia Barskova to continue making the film, a young producer is Producers: Oleg Kohan showing the portfolio of scenes to a potential Production: Sota Cinema Group investor, who pretends to understand this “non- Awards: Nika Award for Best Film of CIS and commercial, art-house” film. -
AMS Boston 2019 Abstracts 48 Thursday Afternoon 2:15–3:45 AMS Boston 2019
AMS Boston 2019 Abstracts 48 Thursday Afternoon 2:15–3:45 AMS Boston 2019 Thursday Afternoon 2:15–3:45 Band Cultures Colin Roust (University of Kansas), Chair Schubert in America: An Examination of Band Programming in the Late Nineteenth and Early Twentieth Centuries Kate Storhoff (Wake Forest University) American musical life in the late nineteenth and early twentieth centuries was a time of change in both repertory and performing forces. By the mid-1800s audiences enjoyed the works of European composers through the programming of American and European orchestra conductors, including Louis Jullien and Theodore Thomas. Among the composers they programmed was Franz Schubert, about whose life and works John Sullivan Dwight published an article in 1852 to fuel the mid-century public interest in the composer. This attention continued throughout the second half of the nineteenth century and into the twentieth. Though some audience members became familiar with Schubert through performances of his songs, chamber mu- sic, and the “Great C Major” and “Unfinished” symphonies in their original forms, many others were exposed to his music through arrangements for band. Examining where and how Schubert was programmed by two of the most prominent band- leaders of the time, John Philip Sousa and Edwin Franko Goldman, reveals insight into how Schubert was regarded by both conductors and audiences. In addition to program analysis, I consider three of the most popular surviving arrangements: Louis-Philippe Laurendeau’s arrangement of the two Marche Militaire (1900), Vin- cent Frank Safranek’s arrangement of the Ballet Music from Rosamunde (1919), and Lucien Cailliet’s arrangement of the first movement of the “Unfinished” Symphony (1938). -
Chekhovian Motifs and Chekhov Was Only a Pretext
indeed be fair to say that there is some extract of Chekhov’s characters, themes, or motifs present in the film. If one links the term “motif” back to music, it is easy to see Kira Muratova’s film as a “variations on a theme,” a musical development of one or two basic melodies, taking them through various repetitions and permutations. Muratova’s long-standing position as an auteur undoubtedly justified this reading in the eyes of many critics and festival audiences. Some even said that Muratova’s film related to nothing but Muratova, Chekhovian Motifs and Chekhov was only a pretext. [Чеховские мотивы] It is easy, however, to attribute a number of elements or “motifs” in the film to Chekhov. In the Ukraine and Russia, 2002 formulaic and textbook-based tradition of Russian B/W, 120 minutes school curriculum and popular culture, classical writers In Russian, with English subtitles for more than a century have been distilled into a Director: Kira Muratova handful of useful slogans. Pushkin is quite simply “our Screenplay: Kira Muratova and Evgenii Golubenko everything”; Gogol' is “a rare bird that flies to the Camera: Valerii Makhniov middle of the Dnieper”; Dostoevskii – “am I a Production Design: Evgenii Golubenko trembling creature or do I have the right?;” Lev Tolstoi Music: Valentin Sil'vestrov is “Count Andrei’s oak tree;” and Chekhov is Cast: Filipp Panov, Sergei Popov, Aleksandr Bashirov, “squeezing the slave out of you drop by drop.” Sergei Bekhterev, Natal'ia Buz'ko, Jean Daniel, In fact, perhaps due to his supreme mastery as Georgii Deliev, Nina Ruslanova a short story writer, a number of Chekhov’s turns of Producer: Igor' Kalenov phrase and stock tricks have entered the common Production: Odessa Film Studio (Ukraine) and repository of knowledge.