Relevant bibliographies by topics / Nikita Mikhalkov

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  2. Dissertations / Theses
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Academic literature on the topic 'Nikita Mikhalkov'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2025

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Journal articles on the topic "Nikita Mikhalkov"

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Trémois, Claude-Marie. "12, de Nikita Mikhalkov." Esprit Mars/avril, no. 3 (2010): 178. http://dx.doi.org/10.3917/espri.1003.0178.

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Hutchings, Stephen, and Birgit Beumers. "Nikita Mikhalkov: Between Nostalgia and Nationalism." Modern Language Review 102, no. 1 (2007): 300. http://dx.doi.org/10.2307/20467271.

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Hutchings, Stephen. "Nikita Mikhalkov: Between Nostalgia and Nationalism by Birgit Beumers." Modern Language Review 102, no. 1 (2007): 300–302. http://dx.doi.org/10.1353/mlr.2007.0117.

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Ventura, Cristiane. "O tempo como protagonista em "Anna dos 6 aos 18", de Nikita Mikhalkov." Em Tese 19, no. 1 (2013): 262. http://dx.doi.org/10.17851/1982-0739.19.1.262-275.

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O presente estudo visa analisar como a atuação do tempo — cronológico (histórico) e subjetivo (memória) — aliado às imagens de arquivos, torna-se um forte elemento dentro da narrativa enquanto possível peça fundamental para a construção da mesma. Para exemplificar essas estratégias de utilização do tempo, analisarei o documentário <em>Anna dos 6 aos 18</em> (1993), do cineasta russo Nikita Mikhalkov. Além de discutir as conotações da memória e autorreferencialidade e suas respectivas implicaturas dentro da construção da narrativa fílmica.
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Freitas, Rodrigo Inacio. "Arquivo, oralidade e memória em Anna, um filme de Mikhalkov." Dito Efeito - Revista de Comunicação da UTFPR 11, no. 18 (2020): 107. http://dx.doi.org/10.3895/rde.v11n18.12755.

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Anna dos 6 aos 18, filme russo dirigido por Nikita Mikhalkov, lançado em 1993 e rodado ao longo de mais de uma década sob a efetivação das políticas da Glasnost e da Perestroika, retrata o panorama político que se desenhava no antigo bloco socialista durante a transição dos anos de 1980 a 1990, o consequente redirecionamento da organização econômica e a mudança nos padrões comportamentais para uma sociedade de consumo nos moldes ocidentais efetivando o desmoronamento das estruturas estabelecidas. O diálogo da obra com o meio no qual foi produzida, sua “sobrevivência” e alinhamento às transform
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Larsen, Susan. "National Identity, Cultural Authority, and the Post-Soviet Blockbuster: Nikita Mikhalkov and Aleksei Balabanov." Slavic Review 62, no. 3 (2003): 491–511. http://dx.doi.org/10.2307/3185803.

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In this article, Susan Larsen argues that the plot lines, aesthetic choices and marketing strategies of the four most commercially successful Russian films of the last decade—Nikita Mikhalkov’sBurnt by the SunandBarber of Siberiaand Aleksei Balabanov’sBrotherandBrother-2—are shaped by anxieties about Russian national identity and cultural authority that these films articulate in gendered terms as threats to paternal bonds and fraternal communities. Aiming both to emulate and to displace the Hollywood films that dominate the Russian film market, Mikhalkov and Balabanov exploit the conventions o
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Lotfi, Glória. "Olhos Negros: A luta de um homem contra o fascínio do “não ser”." JUNGUIANA 42 (November 11, 2024): 1–9. http://dx.doi.org/10.70435/junguiana.v42.113.

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Estudo sobre o processo de individuação no filme Olhos Negros (1987) de Nikita Mikhalkov (Itália-Rússia-Estados Unidos, 1987), considerando casamento e relações familiares. A autora trabalha o tema do incesto de acordo com a visão junguiana do mergulho ao interior de si mesmo para o resgate dos tesouros mais valiosos do ser humano. Essa viagem está, muitas vezes, fadada ao fracasso e à permanência em um estágio de ego infantil, com o enfraquecimento do herói e com a sua transformação no “filho amante”. O processo de individuação requer uma luta constante contra o fascínio de dissolver-se no to
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Vaissié, Cécile. "La perestroïka de Nikita Mikhalkov (1986-1991) : construire une Russie pour l'Occident, entre Tchékhov, Tziganes et Mongols." Revue Russe 37, no. 1 (2011): 53–64. http://dx.doi.org/10.3406/russe.2011.2464.

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Tavis, Anna A. "Close to Eden (Urga). Dir. Nikita Mikhalkov. Screenplay Rustam Ibragimbekov. Based on an original idea by N. Mikhalkov and a story by Mikhalkov and Ibragimbekov. Photography Vilen Kaluta. Music Eduard Artemyev. In Mongolian/Russian/Chinese with English subtitles. Released by Miramax Films." Slavic Review 53, no. 2 (1994): 549–50. http://dx.doi.org/10.2307/2501308.

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Korobko, Roman V. "Framing as a method of creating a film's metaphorical context." Journal of Flm Arts and Film Studies 11, no. 2 (2019): 79–86. http://dx.doi.org/10.17816/vgik11279-86.

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This essay continues the study of the semiotics and synergetics of Framing in the Art of Cinematography which substantiates the hypothesis that framing (perspective) constitutes one of the most important codes of screen communication in its cinematographic and metaphorical contexts. Thus, framing is represented by two hierarchical levels of representation of contextual semiotic connections: the connection between mise-en-cadre and mise-en-scne (the level of the cinematographic form of film sign); and the relationship between cinematographic imagery, action and meaning (the level of the cinema
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Dissertations / Theses on the topic "Nikita Mikhalkov"

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Morabito, Fabiana. "A Rússia pelo cinema de Nikita Mikhalkov." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-08012014-155921/.

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A proposta central desta pesquisa é analisar os filmes do cineasta russo Nikita Mikhalkov produzidos no período pós-soviético, sem, contudo, desconsiderar as demais obras do momento soviético. O estado de dissolução de valores na Rússia pós-soviética e a falta de parâmetros, principalmente dos jovens, motivaram Mikhalkov a produzir filmes cuja forma e conteúdo fossem acessíveis e emblemáticos, aproximando-se do cinema blockbuster e persuadindo o espectador através do uso incessante de símbolos. Seu público-alvo são os jovens, porém sua crítica se estende a todos os afetados pelo capitalismo, s
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Khatib, Damavandi Farhad. "Le contexte, l'image et la musique à l'unisson dans la collaboration de Nikita Mikhalkov avec Edouard Artemiev." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30063/document.

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Dans les années 1970, les cinéastes soviétiques arrivaient à faire des films de qualité malgré toutes les contraintes et bien qu’étant obligés de tourner conformément aux critères de la censure. On peut parler de l'originalité et d’une certaine liberté d'expression, comme les caractéristiques du cinéma soviétique de cette période, puisque le contrôle du contenu des films est devenu moins strict par rapport aux décennies précédentes. Ces années sont marquées par la naissance de la collaboration fructueuse du cinéaste Nikita Mikhalkov avec le compositeur Edouard Artemiev. Un regard très profond
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Maurice, David. "Événements, histoire et mémoire la crise de l'identité russe dans le film "Anna 6-18" du réalisateur Nikita Mikhalkov (1980-1993)." Mémoire, Université de Sherbrooke, 2010. http://savoirs.usherbrooke.ca/handle/11143/2632.

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Le cinéma constitue un outil de représentation culturel très complet et complexe, de par la juxtaposition de l'image et du son au récit principal, mais aussi, car il permet de comprendre l'image qu'un individu et/ou une société véhicule d'elle-même et des autres.Le cinéma met en scène le présent d'un groupe ou d'une société, définit son rapport au passé et détermine un horizon d'attentes, des craintes et des espoirs pour le futur. C'est pourquoi le cinéma a été considéré très tôt par Lénine comme le support par excellence de la propagande d'État en Union soviétique, et ce, dès les premières an
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Gallep, Larissa Tannus [UNESP]. "Anna dos 6 aos 18 anos." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86901.

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Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-22Bitstream added on 2014-06-13T19:27:48Z : No. of bitstreams: 1 gallep_lt_me_ia.pdf: 1157277 bytes, checksum: b706aed8e8a39902338d9b0401639ea1 (MD5)<br>Universidade Estadual Paulista (UNESP)<br>Com esta pesquisa a minha intenção foi a de realizar uma investigação do filme/documentário russo Anna dos 6 aos 18 e como ele expõe os momentos históricos do fim dos anos 1980 e começo dos 1990, com a queda da União Soviética e o surgimento da Perestroika. Tentei aqui apresentar uma análise de c
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Books on the topic "Nikita Mikhalkov"

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M, Sandler A., ed. Nikita Mikhalkov: Sbornik. "Iskusstvo", 1989.

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Razzakov, Fedor. Nikita Mikhalkov: Chuzhoĭ sredi svoikh. Ėksmo, 2005.

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N, Suminova T., ред. Nikita Mikhalkov: Filʹmograficheskiĭ i bibliograficheskiĭ ukazatelʹ. Studii͡a︡ "TRITĖ", 1995.

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Beumers, Birgit. Nikita Mikhalkov: Between nostalgia and nationalism. I.B. Tauris, 2005.

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Blum, Daniel C. Emotional energetics: Working with the actor with Nikita Mikhalkov. European Film Academy, 1995.

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6

Sirkes, Pavel. Rezhissery--sobesedniki: Leonid Trauberg, Sergeĭ Gerasimov, Sergeĭ Bondarchuk, Nikita Mikhalkov, Vadim Abdrashitov. Soi͡u︡z kinematografistov SSSR, Vses. tvorchesko-proizvodstvennoe obʺedinenie "Kinot͡s︡entr", 1989.

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Vashchilin, Nikolaĭ. Na territorii li︠u︡bvi Nikity Mikhalkova: Sluzhitʹ by rad, prisluzhivatʹsi︠a︡ toshno. Izdatelʹskie reshenii︠a︡, 2017.

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Beumers, Birgit. Nikita Mikhalkov. I. B. Tauris & Company, Limited, 2004.

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Nikita Mikhalkov: Chuzhoĭ sredi svoĭkh. EKSMO, 2005.

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Nikita Mikhalkov: Between nostalgia and nationalism. I.B. Tauris, 2005.

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Book chapters on the topic "Nikita Mikhalkov"

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Nancy, Condee. "Nikita Mikhalkov: European but Not Western?" In The Imperial Trace. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780195366761.003.0003.

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"Nikita Mikhalkov: The ‘Father’ of the Nation?" In Nikita Mikhalkov: Between Nostalgia and Nationalism. I.B.Tauris, 2005. http://dx.doi.org/10.5040/9780755699445.ch-001.

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"Illustrations." In Nikita Mikhalkov: Between Nostalgia and Nationalism. I.B.Tauris, 2005. http://dx.doi.org/10.5040/9780755699445.003.

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"Introduction." In Nikita Mikhalkov: Between Nostalgia and Nationalism. I.B.Tauris, 2005. http://dx.doi.org/10.5040/9780755699445.005.

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"Concluding Remarks." In Nikita Mikhalkov: Between Nostalgia and Nationalism. I.B.Tauris, 2005. http://dx.doi.org/10.5040/9780755699445.006.

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"Notes." In Nikita Mikhalkov: Between Nostalgia and Nationalism. I.B.Tauris, 2005. http://dx.doi.org/10.5040/9780755699445.007.

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"Select Filmography." In Nikita Mikhalkov: Between Nostalgia and Nationalism. I.B.Tauris, 2005. http://dx.doi.org/10.5040/9780755699445.008.

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"Bibliography." In Nikita Mikhalkov: Between Nostalgia and Nationalism. I.B.Tauris, 2005. http://dx.doi.org/10.5040/9780755699445.009.

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"Dreams of a Better Life: 1963–1975." In Nikita Mikhalkov: Between Nostalgia and Nationalism. I.B.Tauris, 2005. http://dx.doi.org/10.5040/9780755699445.ch-002.

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"‘Retro’ as Style: 1975–1980." In Nikita Mikhalkov: Between Nostalgia and Nationalism. I.B.Tauris, 2005. http://dx.doi.org/10.5040/9780755699445.ch-003.

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