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Topic: Soviet cinema

	Cinema of the Soviet Union - Wikipedia, the free encyclopedia
		As this amounted mostly to cinema houses, the first Soviet films consisted of recycled films of the Russian Empire and its imports, to the extent that these were not determined to be offensive to the new Soviet ideology.
		Soviet films tend to be rather culture-specific and are difficult for many foreigners to understand without having been exposed to the culture first.
		In the year of the 60th anniversary of the Soviet cinema (1979), on April 25, by the Decision of the Presidium of the Supreme Soviet of the USSR, the commemorative Day of the Soviet cinema was established.
	en.wikipedia.org /wiki/Soviet_cinema (1757 words)

	Soviet Union - Open Encyclopedia (Site not responding. Last check: 2007-10-10)
		According to the most recent Soviet Constitution of 1977, the Soviet Union theoretically was a federal state consisting of fifteen republics joined together in a voluntary union and the government had a federal structure (see Constitution of the Soviet Union).
		Soviet foreign policy played a major role determining the tenor of international relations for nearly four decades, and the Soviet Union had official relations with the majority of the nations of the world by the late 1980s.
		As the Soviet Union achieved rough nuclear parity with the United States, Cold War superpower competition between the Soviet Union and the U.S. gave way to Détente and a more complicated pattern of international relations in which the world was no longer clearly split into two clearly opposed blocs in the 1960s and 1970s.
	open-encyclopedia.com /Soviet_Union (2005 words)

	Learn more about Soviet Union in the online encyclopedia. (Site not responding. Last check: 2007-10-10)
		The Union of Soviet Socialist Republics (USSR or Soviet Union; Soyuz Sovetskikh Sotsialisticheskikh Respublik, SSSR written in the Cyrillic alphabet as СССР) was a union of socialist republics, which were run via the only recognized political party, the Communist Party of the Soviet Union.
		The Soviet Union was the successor state of the Russian Empire but was smaller as a result of the independence of Poland, Finland and the Baltic States.
		In 1991, the Soviet Union fell apart after a failed coup attempt by military leaders who were upset with the direction Gorbachev was leading the country.
	www.onlineencyclopedia.org /s/so/soviet_union.html (1104 words)

	Power & Cinema (Site not responding. Last check: 2007-10-10)
		Like all artists, the Soviet cinema giants of the 1920s and 30s produced their films within the context of their experiences-and against the political and cultural landscape of their lives.
		Eisenstein understood implicitly that cinema had the power to re-present experiences to any man or woman regardless of their previous exposure and that through cinema people could be heroes or murderers based on the emotions they experienced simultaneously through a character.
		Because the Soviet cinema banned most foreign films from the country's theaters, this form was used again and again without much outside competition and it was sanctioned and encouraged by the Soviet cinema bureaucracy.
	saugus.byu.edu /publications/insight/Data/Iss1/power.htm (4661 words)

	english.russ.ru Alla Yarkho. Stalin Cinema on the Near Side of the Pyrenees (Site not responding. Last check: 2007-10-10)
		As cinema critics repeatedly wrote, soviet cinema of the 30’s-40’s did not show real life but created an idealistic image of what life in the USSR was expected to be; what viewers saw was the future translated into the present and a fairy tale translated into a true story.
		We should only remember that cinema clubs and cinemateques were established in the Western Europe just after the Second World War when Europeans were in sympathy with the USSR and communists because of their heroic performance in the war.
		Sympathy of the French for their own communists and the Soviet Union could be explained by the sense of shame for their abstention from struggle with Hitler (28% of the French voted for communists in 1945 and 25% in 1950).
	english.russ.ru /ist_sovr/20000925-pr.html (1828 words)

	Steve Nottingham: Early Soviet Cinema
		Soviet film-makers were working during a time of great social upheaval, which saw the collapse of an existing culture and its replacement with a revolutionary world-view.
		Soviet cinema also adopted a serious tone, in keeping with its social function and its intellectual aspirations, unlike cinema in the USA, where comedy was a popular genre.
		Soviet film is also essentially different from contemporary European cinema, particularly Scandinavian cinema, where films dealing with complex themes centring on human relationships, for example The Abyss (1910), were made for an educated and sophisticated audience, who were quick to accept cinema as an art equivalent to music or painting.
	ourworld.compuserve.com /homepages/Stephen_Nottingham/cintxt1.htm (1813 words)

	Kira Muratova
		When post-glasnost Soviet cinema experienced the new wave of chernukha ("bleak cinema") Muratova's films were still radically different, because themes of ugliness, cruelty and absurdity were reflected in their formal cinematic style, rather than just in content.
		She conforms neither to the clean and sterile cinema of observation nor to the cynical cinema of shocking sensationalism.
		Unlike most other film directors in post-Soviet cinema, she enjoys making films in a free market environment, and insists that the pressure put on her by financial investors is in no way comparable to the demands of the Soviet censors.
	www.sensesofcinema.com /contents/directors/03/muratova.html (3161 words)

	Movies Other\| (Site not responding. Last check: 2007-10-10)
		The traveling series " Soviet Cinema in the ’60s " originated at Lincoln Center last year; it reaches the MFA this Wednesday.
		Romm, a veteran of the Soviet cinema’s darkest years, proved with Nine Days that he had survived them with his artistic instincts intact.
		Khutsiev was born in 1925, and he fought in the war; he was thus of the generation of the hero’s father.
	www.bostonphoenix.com /boston/movies/reviews/documents/01791887.htm (1289 words)

	Index of Books about Movies
		Whereas most books on Soviet giants have glorified the directorial giants of the "golden age" of the 1920s, "Inside the Film Factory" also recognises the achievements of popular cinema from the pre-revolutionary period through to the 1930s and beyond.
		Based on extensive research and in original translation, the documents selected illustrate both the aesthetic and political development of Russian and Soviet cinema, from its beginnings as a fairground novelty in 1896 to its emergence as a mass medium of entertainment and propaganda on the eve of World War II.
		She traces key movements in French cinema and the directors associated with them, including the avant-garde--Germaine Dulac, Marie and Jean Epstein; Poetic-Realist--Jean Renoir and Marcel Carne; New Wave--Jean-Luc Godard and Francois Truffaut; and today's postmodern cinema of Jean-Jacques Beineix, Luc Besson and Colinne Serreau.
	www.discountmovieworld.com /moviebooks/moviebooks08 (3293 words)

	Steve Nottingham: Early Soviet Cinema
		In the early days of the Revolution, cinema was condemned because of its perceived association with the Shah's regime and western influence.
		A self-reflexive approach is used to analyse the nature of identity, freedom and expression, to ask questions of cinema itself, and to arrive obliquely at truths (that might be difficult to arrive at directly given the political climate).
		Sitting awkwardly alongside modern Islamic fundamentalism is a strand of culture imbued with such poetry and echoes of Zoroastrianism, the religion that once dominated Persia, seen in the looming presence of towers and burial mounds in barren and beautiful landscapes.
	ourworld.compuserve.com /homepages/Stephen_Nottingham/cintxtIran.htm (4199 words)

	Bookshop: Books on Central and Eastern European Cinema (Site not responding. Last check: 2007-10-10)
		Being an American, Cook tends to subscribe too heavily to the view that US cinema is the centre of it all, but this does not detract from the attention he applies to global film making.
		More than a feminist study of Russian cinema, this is a great all-round analysis of the social background to Soviet cinema which is both readable and recommended.
		The latter half of the 1970s and the early 1980s might not be the obvious starting point for study of Central European cinema, but this is an excellent volume with some fascinating insights.
	www.ce-review.org /books/cinema.html (867 words)

	Powell's Books - The Zero Hour: Glasnost and Soviet Cinema in Transition by Andrew Horton
		Now faced with the "zero hour" created by a new freedom of expression and the dramatic breakup of the Soviet Union, Soviet cinema has recently become one of the most interesting in the world, aesthetically as well as politically.
		To answer this question, the American film scholar Andrew Horton and the Soviet critic Michael Brashinsky offer the first book-length study of the rapid changes in Soviet cinema that have been taking place since 1985.
		What emerges from their collaborative dialogue is not only a valuable work of film criticism but also a fascinating study of contemporary Soviet culture in general.
	www.powells.com /cgi-bin/biblio?inkey=16-0691019207-3 (299 words)

	EMAF 96 - Archive: 1990: The Soviet PARALLEL CINEMA
		The fusion, now called Parallel Cinema, did not think of itself as a collective superego that is active as a group and that determinates its own themes, it was rather so that each film-maker developed in a very individual way.
		While their early works (Cruel Illness Of The Men, Metastasis, Tractor) were characterized by ironic critique on public state of affairs and while their theoretical quarrels dealt with the Soviet cinema of the twenties and of the thirties today they intend to give up this kind of direct influences.
		In many of these earlier films the language is an essential part that functions like an insertion and is used asynchronoursly, or in an entangled or a simultaneous way equal to the visual part in order to distract from the significs.
	www.emaf.de /1990/sowpar_e.html (1258 words)

	russian cinema (Site not responding. Last check: 2007-10-10)
		For Russian cinema classics available on video with English subtitles in both NTSC and PAL formats visit Central...
		Unknown Russian Cinema is a new series of outstanding feature films on videocassette featuring works by talented...
		RUSCICO (RUSSIAN CINEMA COUNCIL) is a commercial association of Russian and foreign companies, created for the...
	www.movie-rental-delivery.com /russian-cinema.html (400 words)

	Russ 255 Texts
		Soviet Popular Culture: Entertainment and Society in Russia since 1900.
		Red Women on the Silver Screen: Soviet Women and Cinema from the Beginning to the End of the Communist Era.
		Movies for the Masses: Popular Cinema and Soviet Society in the 1920s.
	www.wellesley.edu /Russian/russianfilm/texts.html (289 words)

	Historical Journal of Film, Radio and Television: Cinema and Soviet Society: 1917-53. - book reviews
		He concludes by examining the need for Soviet cinema to reach out to broader audiences and this need leads him in to a useful discussion of the cultural revolution that accompanied the first Five-year Plan, 1928-32.
		The bulk of the book (not surprisingly given its time span) is devoted to `The Age of Stalin' and here Kenez studies the structures governing Soviet cinema in the ideological, industrial and censorship spheres.
		This is a thorough and interesting survey of the first 36 years of Soviet cinema and will be very useful for students of the history of Soviet culture, and cinema in particular.
	www.findarticles.com /p/articles/mi_m2584/is_n3_v14/ai_16424850 (453 words)

	Russian Collections
		They consist of concise and concentrated texts with biographical information about now forgotten actors of the first generation of Soviet cinema and are illustrated with stills from films.
		Journalism and Russian criticism of Soviet cinema mostly from 1926 to 1930.
		It is a blueprint for the state-run Soviet cinema and may be the only copy in a library outside the FSU.
	www.bl.uk /collections/easteuropean/russcinema.html (716 words)

	Hilde Hoogenboom (Site not responding. Last check: 2007-10-10)
		•Taylor and Christie, “Introduction: 1926,” “Adrian Piotrovsky: The Battleship Potemkin,” “Alexei Gvozdev: A New Triumph for Soviet Cinema (The Battleship Potemkin and the ‘Theatrical October’),” “Béla Balázs: The Future of Film,” and “Sergei Eisenstein: Béla Forgets the Scissors” The Film Factory, 137-49.
		•Taylor and Christie, “Abram Room: Cinema and Theatre,” “Viktor Shklovsky: The Semantics of Cinema,” “Introduction: 1927,” “Viktor Shklovsky: The Film Factory (Extracts),” “Kirill Shutko: Preface to Poetics of Cinema,” “Viktor Shklovsky: Poetry and Prose in Cinema,” and “Introduction: 1928,” The Film Factory, 128-9, 131-3, 157-9, 166-9, 174-8, 191-4.
		Prokhorov, “Soviet Family Melodrama of the 1940s and 1950s: From Wait for Me to The Cranes Are Flying, McReynolds and Neuberger, 208-31.
	www.macalester.edu /russian/courses/RUSS294film.html (2322 words)

	Introductory Page to Russian and Soviet Cinema: Bibliography (Site not responding. Last check: 2007-10-10)
		It was originally compiled to assist non-Russian speaking undergraduate students enrolled in two University of Pittsburgh courses that fulfill the university's writing requirement for graduation.
		Russo-Soviet Cinema: Perestroika and the Post-Soviet Period, 1986-
		Russo-Soviet Cinema: Issues in 20th Century Russian and Soviet Cinema
	www.pitt.edu /~slavic/video/cinema_biblio.html (251 words)

	UI 16e:175 bibliography
		Red women on the silver screen : Soviet women and cinema from the beginning to the end of the communist era.
		The new theatre and cinema of Soviet Russia.
		Cinema and Soviet society from the revolution to the death of Stalin.
	www.uiowa.edu /~c16e175a/bibliography.htm (931 words)

	Lyubov Orlova: Stalinism's Shining Star
		A misguided assumption about Soviet cinema, which still persists, is that it's a national cinema mostly comprised of depressing war dramas in which popular genres were neglected and even suppressed.
		The making of musical comedies was encouraged by a decree which Boris Shumiatski, administrative head of Soviet cinema at the time, had issued in 1935 recommending that filmmakers focus on making popular “movies for the millions”.
		Marion's 'dirty secret' is revealed, and rather then shunned, her fl son is embraced by the friendly members of the Soviet audience who even begin singing a lullaby for him.
	www.sensesofcinema.com /contents/02/23/orlova.html (2427 words)

	HIS 450Y/1280Y : HISTORY AND SOVIET CINEMA 2003-04 (Site not responding. Last check: 2007-10-10)
		The course is devoted to the history of Soviet cinema from the 1920s to the present and the importance of film as a historical source.
		Soviet Cold War films are examined in their international and internal contexts to see to what extent their aesthetic and their ideology transcended propaganda and turned these films into a self-portrait of Soviet society during the late Stalin period.
		Finally, by exploring the relation between documentary and fiction film and its development from the 1920s to the late Soviet period, specific questions of form, such as narration and editing, will be used to investigate ways to analyze the complex relationship between reality and its representation on the screen.
	individual.utoronto.ca /lah/courses/HIS450.y.03.5.html (2936 words)

	Russian Cinema
		Cinema and Subjectivity - Lev Kuleshov - by Earl Jackson, Jr.
		The Master of Epic Cinema (the 80th anniversary of the birth of Sergei Bondarchuk) - by V. Berezin
		Actors of the Soviet Cinema - Alexander Kaidanovsky - in Russian
	www.usc.edu /dept/LAS/IMRC/russianart/cinema.htm (2508 words)

	Russian Cinema
		It introduces readers to the currents and common interests of contemporary Russian cinema, offers close studies of the work of filmmakers like Sokurov, Muratova and Astrakhan, reviews the Russian film industry in a period of massive economic transformation, and assesses cinema’s function as a definer of Russia’s new identity.
		Cinema and Soviet Society : From the Revolution to the Death of Stalin (KINO - The Russian Cinema) * The story of Soviet film in the period covered by Peter Kenez is central to the history of world cinema.
		The idea behind the title of the book is that the film-goer goes to the cinema to experience time, and that the director's job is to sculpt the time that the audience experiences-- cut away the inessential words and seconds and pieces.
	film.vtheatre.net /rcinema.html (1315 words)

	Cinema and Soviet Society : From the Revolution to the Death of Stalin (KINO - The Russian Cinema)
		Cinema and Soviet Society : From the Revolution to the Death of Stalin (KINO - The Russian Cinema)
		It is very thorough and written in a lively, bright style that is free of academic jargon.
		Kenez begins with the pre-Revolutionary film industry and shows how it broke down and was built back up by the Soviets.
	www.fullcreditrepair.info /ebooks/isbn1860645682.html (208 words)

	The rise and fall of Soviet cinema
		His first project sponsored by the Soviet government was as the director of the film train.
		He travelled around the Soviet Union in a train complete with an edit suite and projection equipment, filming scenes of everyday life and the effects of the revolution on it.
		The film produced reflected not just successes of the revolution but also some of the severe problems resulting from the forced collectivisation of the 1930s.
	www.greenleft.org.au /back/1995/182/182p23b.htm (578 words)

	The War of the Worlds And Real Images: Soviet Cinema and the Thaw (Site not responding. Last check: 2007-10-10)
		"Real Images is the first book to investigate, and analyze Soviet cinema of "the thaw" from the aftermath of Stalin's death in 1953 to the late 1960s, during Kruschev's rule.
		Josephine Woll explains how Soviet industry and filmmakers strove to satisfy audiences' hunger for films, while accommodating the political mood shifts that characterized the period.
		Film and filmmakers played a critical role in the Soviet Union's attempts to get out from underneath Stalinist ideology.
	www.tinalovejoymusic.com /estate.htm (128 words)

	Russian (Soviet) and East European Cinema: Media Resources Center UCB
		Her personal evolution is interwoven with archival footage and propaganda films tracing the death throes of the Soviet Empire from the last years of the Brezhnev regime through Gorbachev's perestroika reforms to the first steps toward democracy under Boris Yeltsin.
		In the Soviet Union of 1936 revolutionary hero, Colonel Kotov, is spending an idyllic summer in his dacha with his wife and their 6 year old daughter.
		Commissioned by the Moscow Soviet as a documentary and information film for the citizens of Moscow prior to municipal elections, film is a tableau of Soviet life and achievements in the period of reconstruction following the Civil War of 1917-1921.
	www.lib.berkeley.edu /MRC/Sovietfilm.html (12646 words)

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