Cinefiles Document #583

Total Page：16

File Type：pdf, Size：1020Kb

Document Citation Title Mikhail Kalatozov's I am Cuba Author(s) Source Milestone Film & Video Date 1994 Type press kit Language English Pagination No. of Pages 17 Subjects Corrieri, Sergio Pineda Barnet, Enrique (1933) Urusevsky, Sergei (1908-1974) Kalatozov, Mikhail (1903-1973), Tiflis (now Tbilisi), Georgia (Republic) Yevtushenko, Yevgeny Aleksandrovich (1933), Soviet Union Cuba -- History -- Revolution, 1959 Film Subjects Ja Kuba (I am Cuba), Kalatozov, Mikhail, 1964 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code).

Copy Link

Recommended publications

The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
[Show full text]
Monumental Melodrama: Mikhail Kalatozov’S Retrospective Return to 1920S Agitprop Cinema in I Am Cuba Tim Harte Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Russian Faculty Research and Scholarship Russian 2013 Monumental Melodrama: Mikhail Kalatozov’s Retrospective Return to 1920s Agitprop Cinema in I Am Cuba Tim Harte Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/russian_pubs Part of the Film and Media Studies Commons Custom Citation Harte, Tim. "Monumental Melodrama: Mikhail Kalatozov’s Retrospective Return to 1920s Agitprop Cinema in I Am Cuba." Anuari de filologia. Llengües i literatures modernes 3 (2013) 1-12. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/russian_pubs/2 For more information, please contact [email protected]. Tim Harte Bryn Mawr College “Monumental Melodrama: Mikhail Kalatozov’s Retrospective Return to 1920s Agitprop Cinema in I Am Cuba ” October 2013 Few artists have bridged the large thirty-year divide between the early Soviet avant-garde period of the 1920s and the post-Stalinist Thaw of the late 1950s and early 1960s like the filmmaker Mikhail Kalatozov. Thriving in these two periods of relative artistic freedom and innovation for Soviet culture, the Georgian-born Kalatozov—originally Kalatozishvili— creatively merged the ideological with the kinesthetic, first through his constructivist-inspired silent work and then through his celebrated Thaw-era films. Having participated in the bold experiment that was early Soviet cinema, Kalatozov subsequently maintained some semblance of cinematic productivity under Stalinism; but then in the late 1950s he suddenly transformed himself and his cinematic vision.
[Show full text]
Salt for Svanetia (Jim Shvante)
Salt for Svanetia (Jim Shvante) USSR | 1930 | 53 minutes Credits In Brief Director Mikhail Kalatozov Salt for Svanetia (Jim Shvante Marili Svanets) is an ethnographic treasure that Screenplay Mikhail Kalatozov, documents with visual bravado the harsh conditions of life in the isolated mountain Sergei Tretyakov village of Ushgul. Often compared to Buñuel's Land Without Bread, Salt begins as a starkly rendered homage to the resourcefulness and determination of the Svan. But Photography Mikhail Kalatozov, as the focus shifts to the tribe's barbaric religious customs (more haunting and Shalva Gegelashvili otherworldly than any surrealist could have envisioned), Mikhail Kalatozov's film Music Zoran Borisavljević transforms itself into a work of remarkably powerful Communist propaganda, holding up these grotesque, near-pagan ceremonies (which many Svanetians later denied the authenticity of) as an example of religion's corruptive influence. The setting for ... Kalatozov’s Salt for Svanetia (1930) is an isolated village high in the Caucasus Mountains of Georgia. Made by the Georgian state studio with Kalatozov as cameraman, it bears an introductory quotation from Lenin: “The Soviet Union is a country so big and diverse that every kind of social and economic way of life is to be found within it.” So Kalatozov (who was himself of Georgian origin) spends most of his time showing the bizarre, vivid world of the Svan community, living a highly ritualized and brutal existence to which the cinematography lends a mythological dimension. The village’s problem is that it has no salt with which to support life for both humans and animals. Graphic images of death and suffering abound.
[Show full text]
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.
[Show full text]
Frame by Frame
3 Pars Pro Toto Character Animation and the Work of the Anonymous Artist Everyone does his or her task on the conveyor belt, performing a partial function without grasping the totality. —Siegfried Kracauer1 The single frame is the basic unit of film just as bricks are the basic unit of brick houses. —Robert Breer2 DELIBERATE MISTAKES In late March 1937, in order to meet the booming demand for Popeye cartoons, the management at Fleischer Studios called for the production process to be sped up. In-betweeners, the animators tasked with drawing the stages of movement that come in between key poses, were expected to double their daily output, from twenty sketches per day to forty.3 But tensions between management and labor at the studio were running high, and the in-betweeners did not comply. Instead, they countered with a “slowdown” strike, which meant, effectively, continuing to produce drawings at the regular rate.4 In the month that followed, fifteen anima- tors were fired for participating in the slowdown, and on May 6 the Commercial Artists and Designers Union authorized a full walkout of the studio. The story of what happened next has already been told, as have the stories of other labor conflicts in the US animation industry—most notably, the 1941 strike at Walt Disney Studios.5 But I want to focus on what didn’t happen. By this I do not mean a counterfactual history, at least not in the traditional sense of the term. Rather, I wish to imagine what is left unsaid in these narratives, which tell us only what went on behind the scenes.
[Show full text]
Ernst Lubitsch
filmedinburgh guild PROGRAMME 2018/2019 filmedinburgh guild The Edinburgh Film Guild, established in 1929, is Between October 2018 and March 2019 the Guild How to join: the oldest continuously running film society in will be showing over 60 films, three a week: Becoming a member is easy. You must be aged 18 the world. • Sunday afternoon, starting at 4:30pm or over, and you can join in person before any of • Sunday evening, starting at 7pm our screenings or online. The Guild is run and managed by volunteers. • Friday evening, starting at 8pm Membership: Full Membership...........£60 The Guild has its own cinema and clubrooms We do not sell tickets for individual films, or (complete 2018/19 season of films) within the Filmhouse building, which are located for any particular films − members choose the Basic Membership.........£20 next to Screen 3. films that they wish to see within the terms of (5 tickets - any 5 films) their membership. Top-Up Subscription......£20 Our 30-seat cinema has a state-of-the-art digital (5 tickets - any 5 films). Those with a ‘Basic’ projector and a 5.1 sound system. membership can purchase additional ‘top-up’ blocks of 5 tickets until they reach a total of £60, You can enjoy a drink and a chat in the Guild when they automatically become Full Members. Clubrooms before a film. EDINBURGH FILM GUILD, FILMHOUSE, 88 LOTHIAN ROAD, EDINBURGH EH3 9BZ www.edinburghfilmguild.org.uk OCTOBER — NOVEMBER 2018 page PROGRAMME Film Noir | USA 04 2018/2019 Paul Fejos 05 May ’68 | 50th Anniversary 06 Lino Brocka | Philippines 07
[Show full text]
Mikhail Kalatozov's Retrospective Return To
ANUARI DE FILOLOGIA. LLENGÜES I LITERATURES MODERNES (Anu.Filol.Lleng.Lit.Mod.) 3/2013, pp. 1-12, ISSN: 2014-1394 MONUMENTAL MELODRAMA: MIKHAIL KALATOZOV’S RETROSPECTIVE RETURN TO 1920S AGITPROP CINEMA IN I AM CUBA Tim Harte Bryn Mawr College [email protected] ABSTRACT This article explores the revival of silent film tropes, particularly silent-era melodrama, in the later films of Mikhail Kalatozov. Kalatozov, a Soviet filmmaker who began his career at the tail end of the silent era, created several masterful works in the post-Stalin era that conspicuously hark en back to Soviet cinema of the 1920s, most significantly The Cranes are Flying and I Am Cuba. This article probes the melodramatic essence of I Am Cuba, a film celebrating the Cuban revolution of the 1950s, as the author discusses the ways in which melodrama, homage to silent Soviet cinema, and groundbreaking cinematography overshadow the ideological orientation of this film, which ultimately led to the shelving of the film in the Soviet Union. KEY WORDS: silent cinema; melodrama; Kalatozov; Eisenstein. Few artists have bridged the large thirty-year divide between the early Soviet avant-garde period of the 1920s and the post-Stalinist Thaw of the late 1950s and early 1960s like the filmmaker Mikhail Kalatozov. Thriving in these two periods of relative artistic freedom and innovation for Soviet culture, the Georgian-born Kalatozov –originally Kalatozishvili– creatively merged the ideological with the kinesthetic, first through his constructivist-inspired silent work and then through his celebrated Thaw-era films. Having participated in the bold experiment that was early Soviet cinema, Kalatozov subsequently maintained some semblance of cinematic productivity under Stalinism; but then in the late 1950she suddenly transformed himself and his cinematic vision.
[Show full text]
Cultural Neighbourhoods and Coproductions in South East Europe and Beyond 4Th Conference on Contemporary Greek Film Cultures
Cultural Neighbourhoods and Coproductions in South East Europe and Beyond 4th Conference on Contemporary Greek Film Cultures Eleni Sideri (ed.) θεσσαλονίκη 2021 © 2021 University of Macedonia Press ISBN: 978-618-5196-58-5 The University of Macedonia Press 156 Egnatia st, 546 36 Thessaloniki, Greece T +30 2310 891.743 F +30 2310 891.731 E [email protected] W www.uom.gr/uompress/ Production editing: University of Macedonia Press Acknowledgment I would like to express my gratitude to Fotini Tsibiridou, Head of the Department of Balkan, Slavic and Oriental Studies and Director of the Lab/Cultures-Borders-Gender, to Tonia Ka- zakopoulou, University of Reading and Contemporary Greek Film Cultures. Furthermore, I would like to thank Anna Moumtzoglou and Elina Kapetanaki from the Lab/Cul- tures-Borders-Gender and Stathis Tsakidis from the IT centre of the University of Macedonia as well as the Scientific and Or- ganizing Committees Effie Voutira, Nikolaos Liazos, Gergana Doncheva, Evgenia Giannouri, Stefania Filipova- Mertzimeki I would like to thank all the participants in the conference, those who manage to be with us in August (see https://contem- porarygreekfilmcultures4.blogspot.com/2020/03/) but also, those who initially agreed but due to COVID-19, could not be with us in the end as well as the contributors to this volume. Μoreover, I would like to thank the anonymous reviewers for offering fruitful comments on the papers on this volume. Finally, I am indebted to the Research Committee of the University of Macedonia to support the conference as well as the publication of this volume.
[Show full text]
Dear Friends! on Behalf of Ministry of Culture of the Russian Federation I
ƒÓÓ„ËÂ ‰ÛÁ¸ˇ! Dear friends! ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛÎ¸ÚÛ˚ –ÓÒÒËÈÒÍÓÈ On behalf of Ministry of Culture of the Russian ‘Â‰Â‡ˆËË ÔÓÁ‰‡‚Îˇ˛ ‚‡Ò Ò Ì‡˜‡ÎÓÏ ‡·ÓÚ˚ Federation I would like to congratulate you all on 19-„Ó ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ the opening of the 19-th Open Russian Film "üËÌÓÚ‡‚". Festival "Kinotavr". ‘ÂÒÚË‚‡Î¸ ‚ —Ó˜Ë ‚ÒÂ„‰‡ ·˚Î Ò‡Ï˚Ï ˇÍËÏ, The Festival in Sochi has always been the most Ò‡Ï˚Ï ÓÊË‰‡ÂÏ˚Ï, Ò‡Ï˚Ï Î˛·ËÏ˚Ï vivid, most anticipated, most admired and most Ô‡Á‰ÌËÍÓÏ Ë ÒÓ·˚ÚËÂÏ Ì‡ˆËÓÌ‡Î¸ÌÓ„Ó ÍËÌÓ. celebrated event for national cinema. But it is Œ‰Ì‡ÍÓ ËÏÂÌÌÓ ÚÂÔÂ¸, Ì‡ ‚ÓÎÌÂ ‡Òˆ‚ÂÚ‡ only now when domestic film industry is ÓÚÂ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓËÒÍÛÒÒÚ‚‡, "üËÌÓÚ‡‚" blooming, "Kinotavr" has become the main ÒÚ‡ÌÓ‚ËÚÒˇ „Î‡‚ÌÓÈ ÔÓÙÂÒÒËÓÌ‡Î¸ÌÓÈ professional platform for the first-night showings, ÔÎ‡ÚÙÓÏÓÈ ‰Îˇ ÔÂÏ¸ÂÌ˚ı ÔÓÒÏÓÚÓ‚, meetings and discussions for all creative ‚ÒÚÂ˜ Ë ‰ËÒÍÛÒÒËÈ ‚ÒÂı Ú‚Ó˜ÂÒÍËı ÔÓÍÓÎÂÌËÈ generations of Russian cinematographers. ÓÒÒËÈÒÍËı ÍËÌÂÏ‡ÚÓ„‡ÙËÒÚÓ‚. Participation in festival's programme is already an ”˜‡ÒÚËÂ ‚ ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏÂ "üËÌÓÚ‡‚‡" achievement, already success for every creative Ò‡ÏÓ ÔÓ ÒÂ·Â ˇ‚ÎˇÂÚÒˇ ÛÒÔÂıÓÏ ‰Îˇ ÒÓÁ‰‡ÚÂÎÂÈ person in our film industry. To win at "Kinotavr" Í‡Ê‰ÓÈ ËÁ ‚˚·‡ÌÌ˚ı ÎÂÌÚ. œÓ·Â‰‡ Ì‡ beyond doubt means to receive the best ever proof "üËÌÓÚ‡‚Â" ÒÚ‡ÌÓ‚ËÚÒˇ ·ÂÒÒÔÓÌ˚Ï of innovation and craftsmanship and excellence.
[Show full text]
Forging the Enemy in Soviet Fiction and Press
Forging the Enemy in Soviet Fiction and Press 1945-1982 Raphaelle Auclert Supervisors: Prof. Evgeny Dobrenko and Prof. Craig Brandist University of Sheffield 1 Table of Contents Introduction 4 First Part: The Stalin Era. The Enemy with a Cloak and a Dagger Chapter 1. The Cold War Begins: Historical and Cultural Background 27 1.1. A Fragile Grand Alliance 28 1.2. The Bipolar Brinkmanship: First Round 29 1.3. The Soviet ‘Peace Offensive’ 37 1.4. Postwar ‘Politerature’ and the ‘Manufacture of the Enemy’ 42 Chapter 2. Case Studies: The Enemy Outside: I. Ehrenburg and N. Shpanov 51 Chapter 3. Case Studies: The Enemy Inside the Communist Movement: 89 D. Eriomin and O. Maltsev Second Part: Khrushchev Era. The Ideological Enemy Chapter 4. The Making of the Thaw Enemy on the Cold War Stage 119 4.1. “Peaceful Coexistence” or the Vanishing of the Outside Enemy 119 4.2. Case Study: The Enemy Within: V. Kochetov 126 Chapter 5. Khrushchev’s Apocrypha 130 Chapter 6. The literary ‘Morality Police’ 148 Third Part: Brezhnev Era: Confronting an Invisible Enemy Chapter 7. The Brezhnev Doctrine 157 Chapter 8. Case Study: Enemy at Heart. Y. Bondarev’s The Shore 169 Chapter 9. Case Study: Becoming Your Enemy: Y. Bondarev’s The Choice 181 Conclusion 193 Bibliography 199 2 Forging the Enemy in Soviet Fiction and Press, 1945-1982 Abstract My dissertation offers a new approach to the study of Soviet official prose in the context of Soviet politics and of the Cold War. The Cold War was an ideological contest between two blocs: capitalist and communist.
[Show full text]
Soviet Film Show at Museum of Modern Art
f? I The Museum of Modern Art 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart No. 116 FOR RELEASE: September 2U, I969 HUGE SOVIET FILM SHOW AT MUSEUM OF MODERN ART The most comprehensive showing of Soviet films ever given here will be presented by The Museum of Modern Art over seventy-two days, with daily showings except Wednesday, in the Museum Auditorium, starting September 25 and ending November 11. The Soviet Film Show was made possible through the efforts of Willard Van Dyke, the Director of the Museum's Department of Film in co operation with Victor Privato, Director of Gosfilmofond, the Soviet St-rte Film Archive. It in cludes forty-nine motion pictures, covering almost 60 years, from I909 to I96T Several of them never have been shown before in this country. Represented in this retrospective are works of the three most renowned film-makers: Vsevolod Pudovkin's "Storm Over Asia" (I928); Sergei Eisenstein's "Potemkin" (I925) nd "Ivan the Terrible" Part I (I9UU) and Part II (I9U6); and Alexander Dovzhenko's "Arsenal" (I929). Other maior works include "Fragment of an Empire" (I929), "The Road to Life" (1951), "Chapayev" (I93U), and "The Childhood of Maxim Gorky" (1938). The sources of these films are Gosfilmofond, which has made special prints from the original negatives for this occasion, and the archives of the Museum, which according to Mr. Van Dyke has the largest collection of Russian films outside the SoA'iet Union. Mr. Van Dyke indicated that a comparable retrospective of American films, from their inception to the present time, will take place in Moscow in the near future.
[Show full text]
The Cranes Are Flying Is a 1957 Drama About the Soviet Union's
The Cranes Are Flying is a 1957 drama about the Soviet Union’s involvement in World War II. The director is Mikhail Kalatozov and the film stars Aleksey Batalov as Boris and Tatiana Samoilova as Veronika. Aleksey Batalov was a well-known actor of the time and had appeared in four prominent films before The Cranes Are Flying, the most famous being the powerful 1955 anti-war film, Mother, directed by Mark Donskoy. Thus, Batalov had his experience in dramatic and noble roles. He maintains a very positive outlook throughout the film, striking resemblance to a prototype character of Russian and beyond films: that of the powerful, handsome, optimistic and virtuous man (a Russian counterpart being Sergei Stolyarov in 1931’s The Circus, as well as American actors such as Henry Fonda). Tatiana Samoilova was a relatively new actress at the time, having only appeared in one film: 1955’s The Mexican directed by Vladimir Kaplunovskiy. She was only twenty-two when The Cranes Are Flying came out, and her portrayal of Veronika earned her a lasting legacy as a star, leading to huge future roles, such as Anna in 1967’s Anna Karenina. However, due to the Soviet regime, Samoilova was not allowed to leave the Soviet Union and become a world-renowned star in Hollywood. In effect, she was relegated to beloved stardom in the Soviet Union exclusively. The cinematographer was the famous Sergey Urusevsky, who also worked as cinematographer on an earlier Kalatozov film, 1964’s Soy Cuba as well as many other prominent films. The Cranes Are Flying was one of Kalatozov’s most celebrated works, both publically acclaimed as well as escaping Stalin’s oppressive eye with his convenient death occurring four years before the film’s release.
[Show full text]