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Journal articles on the topic 'Nikita Mikhalkov'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Saltykov, D.I. "Eros of Russian Ideology: Sexual Intercourse in New Russian Blockbuster." Sociology of Power, no. 1 (June 7, 2018): 144–59. https://doi.org/10.22394/2074-0492-2018-1-144-159.

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Recent Russian blockbuster emerged approximately at the same time with Vladimir Putin’s Russian presidency and Nikita Mikhalkov’s appointment as the chair of the Union of Cinematographers of the Russian Federation. In the same years multiplexes in the country were opened, and theatres became filled with people. The context defines Russian blockbuster’ specifics. It has a considerably low production budget, since it has a part of state finance. Such movie doesn’t necessarily get profit, but it uses Hollywood techniques to transfer Russian national ideology. Before now, R

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12

Mahler, A. M. "Christian motives in Soviet cinema." Orthodoxia, no. 1 (December 3, 2023): 156–245. http://dx.doi.org/10.53822/2712-9276-2023-1-156-245.

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The paper highlights the history of emergence and development of Christian motives in Soviet cinema, from the times of persecution against the Church in 1920–1930 up to the era of Perestroika. There is a difference in the perception of Christianity as the basis of traditional ethno-cultural identity and as the basis of universal moral values, which in both cases contributed to the gradual legitimization of Christian subjects in Soviet culture in spite of the multilevel system of ideological censorship. This paper analyzes the deep ideological trends in the evolution of Soviet culture, which al

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13

Taubman, Jane A. "Nikita Mikhalkov: Between Nostalgia and Nationalism. By Birgit Beumers. KINOfiles Filmmakers' Companions, no. 1. New York: I. B. Tauris, 2005. ix, 146 pp. Notes. Bibliography. Filmography. Photographs. $24.95, paper." Slavic Review 65, no. 2 (2006): 414–15. http://dx.doi.org/10.2307/4148651.

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14

Shumov, Maksim Vladimirovich. "The place and role of the Oscar Film Award in Russian cinema." Pan-Art 4, no. 2 (2024): 141–48. http://dx.doi.org/10.30853/pa20240021.

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The purpose of the study is to identify the place and role of the Oscar film Award by the American Academy of Motion Picture Arts and Sciences in the Russian film community. The article reveals the aspects of the Oscar Film Award in the context of the global recognition of the professional merits of Russian cinematographers and their works. The focus is not only on the quantitative approach, but also on the qualitative one. It is important for the author to trace the nominations of the film award, the years of application, the directors who repeatedly apply, as well as the opinions of critics

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15

Kunze, Peter C. "Child’s play: Nadia and romantic childhood in Nikita Mikhalkov’s Burnt by the Sun." Studies in Russian & Soviet Cinema 7, no. 1 (2013): 25–38. http://dx.doi.org/10.1386/srsc.7.1.25_1.

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16

Sim, Ji Eun. "War and Ideology: Some Critical Reflections on ‘Ruscism’ (Based on Nikita Mikhalkov’s Besogon TV)." Korean Journal of Russian Language and Literature 36, no. 4 (2024): 183–214. https://doi.org/10.38077/kjrll.2024.12.36.4.183.

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17

Zeul, Mechthild. "The creation of the fetish, as illustrated by Nikita Mikhalkov's (1994) Burnt by the Sun." Psychoanalytic Psychology 19, no. 4 (2002): 767–71. http://dx.doi.org/10.1037/0736-9735.19.4.767.

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18

Vladimir, BRAJUC. "THE REFLECTIVE HERO IN RUSSIAN LITERATURE AND SOVIET CINEMA (FROM ONEGIN AND OBLOMOV TO ZILOV)." Limbaj si context / Speech and Context International Journal of Linguistics, Semiotics and Literary Science 2/2017, no. IX (2021): 65–86. https://doi.org/10.5281/zenodo.5153445.

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<em>This paper analyzes the reflective character in the play "Duck Hunt" by A. Vampilov. The author proceeds from the literary type of "superfluous man", that was discovered in the early 19<sup>th</sup> century by A.S. Pushkin's novel "Eugene Onegin" and that continued its existence in such heroes of Russian literature as Pechorin, Beltov, Rudin, Oblomov. The author highlights the distinctive features of the studied literary type in the play "Duck Hunt" and in the movie "Holiday in September", and stops at the plot-forming function of

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19

Field, Daniel. "Vospominaniia generalfel'dmarshala grafa Dmitriia Alekseevicha Miliutina, 1816-1843. Ed. L. G. Zakharova. Moscow: Studiia "Trite" Nikity Mikhalkova/Rossiiskii arkhiv, 1997. 493 pp. Notes. Index. Illustrations. Maps. Hard bound." Slavic Review 57, no. 3 (1998): 658–59. http://dx.doi.org/10.2307/2500740.

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20

Gillespie, David. "Nikita Mikhalkov: Between Nostalgia and Nationalism by Birgit s> Beumers (review)." Slavonic and East European Review 85, no. 2 (2007). http://dx.doi.org/10.1353/see.2007.0070.

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21

"Burnt by the Sun [Utomlennye solntsem]. Produced by Michel Seidou and Nikita Mikhalkov; directed by Nikita Mikhalkov; screenplay by Nikita Mikhalkov and Rustam Ibragimbekov. 1994; color; 152 minutes. Russian with English subtitles. Distributor: Sony Pictures Classics and The Interpretation of Dreams [Tolkovanie snovidenii]. Directed by Andrei Zagdansky; screenplay by Semen Vinokur. 1990; color and black & white; 50 minutes. Russian. Distributor: Facets Multimedia." American Historical Review, October 1995. http://dx.doi.org/10.1086/ahr/100.4.1223.

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22

Holloway, Ron. "Moscow 2002." Kinema: A Journal for Film and Audiovisual Media, November 20, 2002. http://dx.doi.org/10.15353/kinema.vi.989.

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MOSCOW INTERNATIONAL FILM FESTIVAL 2002 Some highly plausible reasons were given by the organizers of the 24th Moscow International Film Festival (21-30 June 2002) for scaling down the budget to approximately half of last year's 3 million rubles (circa $1 million as fluctuating exchange rates go). According to one insider, the budget remained the same as before, but some outstanding debts from previous years had not yet been paid off. Also, since a blowout festival is planned for the 25th anniversary in 2003, the 24th outing was stylized as a modest showcase of better things to come. Nikita Mi

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23

Holloway, Ron. "St. Petersburg 2003." Kinema: A Journal for Film and Audiovisual Media, November 20, 2003. http://dx.doi.org/10.15353/kinema.vi.1022.

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ST. PETERSBURG FESTIVAL OF FESTIVALS For much too long, the St. Petersburg Festival of Festivals has lingered in the shadows of the all-mighty Moscow International Film Festival. This year, however, everything has changed for the better. Since 2003 marks the 300th anniversary of the founding of St. Petersburg by Peter the Great, the year has been one long celebration of events and festivals on the Neva. According to some reports, the 11th St. Petersburg Festival of Festivals (23-29 June) under director Alexander Mamontov received as much government funding as did the Moscow International Film

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24

Jabłoński, Paweł. "Między sprawiedliwością a miłosierdziem. Porównanie amerykańskiej i rosyjskiej wersji Dwunastu gniewnych ludzi." Archiwum Filozofii Prawa i Filozofii Społecznej, March 31, 2021, 45–61. http://dx.doi.org/10.36280/afpifs.2021.1.45.

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The aim of the article is to thematize two different types of attitudes to the law – which, referring to works by Marek Jan Siemek and Lon Luvois Fuller, I call the “Eastern attitude” and the “Western attitude”. This task is realized by a comparative interpretation of two famous films: 12 Angry Men, directed by Sidney Lumet, and Nikita Mikhalkov’s Russian-language remake of Lumet’s movie, titled 12. I try to show that although these two films tell similar stories, there are significant differences between them in regard to the perception of the law. In the American version, the law is a system

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