A Companion to Russian Cinema.

Intro -- Title Page -- Table of Contents -- Notes on Contributors -- Acknowledgments -- Notes on Transliteration and References -- Transliteration -- References -- Introduction -- The Field -- The Project and its Structure -- References -- Part I: Structures of Production, Formation, and Exhibition -- 1 The Film Palaces of Nevsky Prospect -- References -- 2 (V)GIK and the History of Film Education in the Soviet Union, 1920s-1930s -- Film Education in the Soviet Union -- Foundational Years: 1919-1924: Striving for the Method and the Victory of the Academic Model -- Centralization and Reorganization: 1924-1930 -- From GTK to (V)GIK (1930-1937) -- References -- 3 Lenfilm -- Vernacular Eccentricity -- Heroic Romanticism -- Avant-Garde as Tradition -- Vernacular Postmodernism -- Conclusion -- References -- 4 The Adventures of the Kulturfilm in Soviet Russia -- Cultural, Enlightening, Useful: The Elusive Film Classification -- Kulturfilms in the Soviet Studio Landscape -- Creative Interpretations -- The Death of the Concept -- References -- 5 Soiuzdetfilm -- The Creation of Soiuzdetfilm -- Getting Inside the Child's Head -- Children Performing Children -- Childhood, Difference, and Ideology -- Donskoi's Approach to Acting -- Reception -- Soiuzdetfilm: Setting Generic Models -- References -- Part II: For the State or For the Audience? Auteurism, Genre, and Global Markets -- 6 The Stalinist Musical -- References -- 7 Soviet Film Comedy of the 1950s and 1960s -- References -- 8 Auteur Cinema during the Thaw and Stagnation -- Toward the Idea of a Director as an "Auteur" -- The Tolerated Margin -- The Individual and the Collective -- Cinema in a Logo-Centric System -- The Unbearable Sadness of Life -- The Persistent Point of View -- Metacinema -- The Forgotten Audience -- The Fresh Breeze of Perestroika -- References -- 9 The Blokbaster.

Goodbye America, Hello Hollywood: The Rise of the Russian Blockbuster in the Late 1990s -- Lovey Dovey: Importing the American Dream -- From Blockbusters to Blokbusters: Russifying Content -- Conclusion -- References -- 10 The Global and the National in Post-Soviet Russian Cinema (2004-2012) -- Research Methods -- Results of Research -- References -- Part III: Sound - Image - Text -- 11 The Literary Scenario and the Soviet Screenwriting Tradition -- The Iron Scenario and the Emotional Scenario -- The Establishment of the Literary Scenario -- The Implications of the Literary Scenario -- Conclusion -- References -- 12 Ideology, Technology, Aesthetics -- Introduction -- Initial Explorations -- The Importance of Color Processes Pioneered Abroad -- Critical Reception of Early Soviet Color Films -- Conclusion -- References -- 13 Learning to Speak Soviet -- Machines Speaking to Machines -- Multi-Lingualism, or the Problem of Language in Soviet Cinema -- References -- 14 Cinema and the Art of Being -- Set Design: The Scholarly Field -- The Russian Context: Background and Practicalities -- The Soviet Designers -- In Search of the Soviet Interior -- References -- 15 Stars on Screen and Red Carpet -- References -- 16 Revenge of the Cameramen -- The Versatile Professional: Iurii Zheliabuzhskii -- Too Little, Too Late: Eduard Tissé -- Passion and Restraint: Mikhail Kalatozov -- The Betrayed Loyalist: Boris Volchek -- The Camera Purist: Sergei Urusevskii -- Conclusion -- References -- Part IV: Time and Space, History and Place -- 17 Soldiers, Sailors, and Commissars -- Chapaev -- We are from Kronstadt -- Shchors -- References -- 18 Defending the Motherland -- Shaping Memory: Understanding the Russian War Film -- A Patriotic Spectacle -- Pasha's Patriotism -- The Responsibility for the Motherland -- No Choice but to Defend -- Conclusion: The Malleable Motherland.

References -- 19 Shooting Location -- Riga as Soviet West -- Riga through Latvian Eyes -- The Baltic as Soviet Little Europe -- Conclusion -- References -- 20 Capital Images -- The Soviet Capital -- "Little" Moscow -- "Fixing" the Image -- Crime Scene: Moscow -- The Empty Space -- Conclusion -- References -- Part V: Directors' Portraits -- 21 Boris Barnet -- A Moscow Youth: The "Champion of Denmark" -- Working with Kuleshov -- First Films as a Director: The 1920s Comedies -- Politics and History, Love and Levity -- The Wartime Films -- The Films of the Late Stalin Years: Innovation and Frustration -- Slow Fade -- References -- 22 Iulii Raizman -- The Apolitical Revolutionary Film: The Last Night -- Love at a Time of War: Mashenka -- 1950s and 1960s: And What if it is Love? and Your Contemporary -- Soviet Men and Women of the 1970s and 1980s: A Strange Woman, Private Life and A Time of Desires -- Conclusion -- References -- 23 The Man Who Made Them Laugh -- Gaidai's Comedy and Soviet Culture -- The Making of the King -- The Golden Decade -- The Decline and the Second Life -- References -- 24 Aleksei Gherman -- References -- 25 Knowledge (Imperfective) -- Biographical Aside -- The First Technique: Inversion -- The Second Technique: Effacement -- The Third Technique: Indeterminacy -- Love, Knowledge, Prophecy -- References -- Appendix: Chronology of Events in Russian Cinema and History -- Bibliography -- Index -- End User License Agreement.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.