Log in

Relevant bibliographies by topics / Soviet Filmmaker

Contents

Journal articles
Books
Book chapters
Conference papers

Academic literature on the topic 'Soviet Filmmaker'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Soviet Filmmaker.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Soviet Filmmaker"

1

Dolidze, Zviad. "The Georgian period of the filmmaker Otar Ioseliani." Arta 30, no. 2 (2021): 74–81. http://dx.doi.org/10.52603/arta.2021.30-2.11.

Full text

Abstract:

The creation of the film director Otar Ioseliani has a significant role in the evolution of Georgian cinematographic art. Since the 1950s, Ioseliani had been active in RSS Georgia, and since the 1980s, thanks to ideological circumstances, he continued his work as a filmmaker in France. Ioseliani imposed himself through a special style in the detection and cinematic expression of the negative parts of everyday life. That is why most of his films were not accepted by Soviet film critics, acclaiming them as negative works that did not fit the Soviet reality and lifestyle. Those works corresponded

APA, Harvard, Vancouver, ISO, and other styles

2

Wells, Sarah Ann. "The Brazilian Eisenstein (1961–1981)." Comparative Literature Studies 61, no. 2 (2024): 335–64. http://dx.doi.org/10.5325/complitstudies.61.2.0335.

Full text

Abstract:

ABSTRACT Beginning in the 1960s and 1970s, Latin American filmmakers and filmgoers began to interpret and adapt early Soviet avant-garde cinema of the 1920s in an unprecedented fashion, extending its half-life in innovative ways. In this context, Brazil is a generative but seldom explored site. This article traces the Brazilian reception of Soviet cinematic poetics through the shifting approaches to Sergei Eisenstein in the filmography of Leon Hirszman (1937–1987). Eisenstein’s approaches to montage would shape Hirszman from his first student film to the workerist cinema that characterized his

APA, Harvard, Vancouver, ISO, and other styles

3

López, Sonia García, and Marina Cavalcanti Tedesco. "Crossing National Borders and Nontheatrical Boundaries." Feminist Media Histories 11, no. 2 (2025): 25–41. https://doi.org/10.1525/fmh.2025.11.2.25.

Full text

Abstract:

This article contributes to recovering the lost history of Rosina Prado’s work. Prado was a Spanish-Soviet filmmaker who, along with Sara Gómez, was one of the first women to direct films in Cuba, where she worked for the Cuban Institute of Cinematographic Art and Industry (ICAIC) between 1961 and 1968. Drawing on feminist forms of archival and historical research, as well as in-depth personal interviews with Rosina Prado’s relatives and collaborators, we explore Prado’s condition as a migrant mother and antifascist exiled woman filmmaker in Cuba. We also probe the uncertainties surrounding Ro

APA, Harvard, Vancouver, ISO, and other styles

4

Menzelevskyi, Stanislav. "Singing Against the Grain: How Ivan Kavaleridze Navigated Socialist Realism in His Film Opera Natalka Poltavka (1936)." Studies in World Cinema 4, no. 2 (2024): 194–217. http://dx.doi.org/10.1163/26659891-bja10045.

Full text

Abstract:

Abstract The article discusses the first attempts of Soviet culture to produce a hybrid genre of film opera in the mid-1930s. It traces the artistic background of Ukrainian sculptor and filmmaker Ivan Kavaleridze who was chosen to pioneer the new genre, as well as the complex national dynamic between Russian and non-Russian Soviet republics amidst the stabilization of Socialist Realist conventions and the launch of the anti-formalist campaign in the ussr. Finally, it addresses the issues of russification, exoticization and alienation of Ukrainian film culture of the time.

APA, Harvard, Vancouver, ISO, and other styles

5

Alekseyeva, Julia. "Vertov and the Avant-Garde Documentary: Dreaming Reality in the 1960s, from the USSR to Japan." Film History: An International Journal 35, no. 2 (2023): 1–25. http://dx.doi.org/10.2979/fih.00001.

Full text

Abstract:

ABSTRACT: This article argues that the work of 1920s Soviet filmmaker Dziga Vertov found especially fertile ground in 1960s Japan, where critics have long discussed ties between documentary and the avant-garde. Theorists interpreted Vertov's filmmaking as fundamentally avant-gardist. That is, it was both an "experiment in a dream" and an "experiment in reality," according to Nakahara Yusuke, rather than the work of a documentarian "catching life unawares." This transnational media ecology results in a strong tradition of experimental documentary that traces revolutionary politics to editing tr

APA, Harvard, Vancouver, ISO, and other styles

6

Balčus, Zane Balčus. "DISCUSSION: JURIS PODNIEKS AND THE CONSTELLATIONS OF TIMES." Culture Crossroads 18 (October 31, 2022): 75–88. http://dx.doi.org/10.55877/cc.vol18.84.

Full text

Abstract:

The discussion Juris Podnieks and the Constellations of Times took place on 4 December 2020, in the framework of the research conference Culture Crossroads. Every year special thematic section of the conference focuses on cinema, and this time it was dedicated to Juris Podnieks (1950–1992), one of the most important documentary filmmakers of Latvian cinema who would have turned 70 on 5 December 2020. Juris Podnieks began working at the Riga Film Studio at the second half of the 1960s. In 1969, he entered the All-Union State Institute of Cinematography to become a documentary cinematographer. H

APA, Harvard, Vancouver, ISO, and other styles

7

Neuberger, Joan. "The Filmmaker in Wartime: Sergei Eisenstein Inside and Out." Slavic Review 79, no. 1 (2020): 76–92. http://dx.doi.org/10.1017/slr.2020.10.

Full text

Abstract:

In 1941, Sergei Eisenstein had a decision to make. Iosif Stalin commissioned him to make a film about Ivan the Terrible, and in the months that followed he vacillated about how to depict the bloody tyrant. The Nazi invasion in June temporarily distracted him from work on the film, but by the time he was evacuated to Alma Ata in October, Eisenstein was committed to making the defiantly unorthodox, transgressive film that we have. What changed? The bombing of Moscow in July compelled Eisenstein to reflect on his public and private responsibilities and on individualism and collectivism in ways th

APA, Harvard, Vancouver, ISO, and other styles

8

Razlogova, Elena. "Sembene behind and beyond the Iron Curtain." Film Quarterly 78, no. 1 (2024): 32–40. http://dx.doi.org/10.1525/fq.2024.78.1.32.

Full text

Abstract:

This article examines how the Senegalese filmmaker Ousmane Sembene represented his oeuvre and how his films were received on both sides of the Iron Curtain in the late 1960s and 1970s, focusing on the Soviet Union and the United States. Sembene’s resounding success in both worlds reflects not only his talent, but his skill for self-fashioning across ideological lines. American publics have celebrated Sembene as a postcolonial auteur. In the Soviet Union, Sembene mattered because of the collectivist aspects of his films—his political organizing, his collaborative filmmaking practice, and his un

APA, Harvard, Vancouver, ISO, and other styles

9

Косинова, Марина, and Marina Kosinova. "Distributing and returning mechanism of Soviet cinema in the period of «stagnation»." Servis Plus 10, no. 2 (2016): 64–73. http://dx.doi.org/10.12737/19460.

Full text

Abstract:

The article discusses the process of film distribution in Soviet cinema in the 1970s. This complex, multi-path way of the film to the viewer that begins with scenarios of application, and finishes with the replication of film prints. This article describes the mechanism of film award, the system of payment of fees (“production fees”) of the Soviet filmmakers, depending on the category and the payment process “potirazhnye” («printing fees»). The author analyzes the work of «GUKK»- General Directorate of cinema spreading and the distribution, the specifics of its work in the “stagnation”, consid

APA, Harvard, Vancouver, ISO, and other styles

10

Krupnyk, Liubov. "Rozmowa z Krzysztofem Zanussim." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 34, no. 43 (2023): 273–78. http://dx.doi.org/10.14746/i.2023.34.43.16.

Full text

Abstract:

   An interview with the Polish film director Krzysztof Zanussi was conducted on 12 July 2022 at his home on the outskirts of Warsaw. The filmmaker has collaborated with Ukrainian artists, traveled extensively in Ukraine, supported Ukrainians during the war and even sheltered Ukrainian refugees in his home. The conversation focused on his collaborations with Ukrainian artists, in particular the prominent Ukrainian actor Bohdan Stupka (1941–2012). He played the lead role in Krzysztof Zanussi’s film And a Warm Heart (2008), for which he received the Best Actor award at the Thir

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Soviet Filmmaker"

1

Goldovskai︠a︡, Marina Evseevna. Woman with a movie camera: [my life as a Russian filmmaker]. University of Texas Press, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

J, Slater Thomas, ed. Handbook of Soviet and East European films and filmmakers. Greenwood Press, 1992.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Graham, Petrie, Dwyer Ruth, and McMaster University. Interdepartmental Committee on Communist and East European Affairs., eds. Before the Wall came down: Soviet and East European filmmakers working in the West. University Press of America, 1990.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

DeBlasio, Alyssa. The Filmmaker's Philosopher. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444484.001.0001.

Full text

Abstract:

Known as the 'Georgian Socrates' of Soviet philosophy, Merab Mamardashvili was a defining personality of the late-Soviet intelligentsia. In the 1970s and 1980s, he taught required courses in philosophy at Russia's two leading film schools, helping to educate a generation of internationally prolific directors. Exploring Mamardashvili's extensive philosophical output, as well as a range of recent Russian films, Alyssa DeBlasio reveals the intellectual affinities amongst directors of the Mamardashvili generation - including Alexander Sokurov, Andrey Zvyagintsev and Alexei Balabanov. This multidis

APA, Harvard, Vancouver, ISO, and other styles

5

Conterio, Martyn. Mad Max. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325864.001.0001.

Full text

Abstract:

Mad Max (1979) is a freak picture. Too classy and well-crafted to be lumped in with low-budget Ozploitation titles, yet completely unlike other films made during the 1970s Australian New Wave, George Miller's directorial debut is a singular piece of action cinema, one that had a major cultural impact and spawned a movie icon in Max Rockatansky (played by Mel Gibson). This monograph examines the film's considerable formal qualities in detail, including Miller's theory of cinema as “visual rock 'n' roll” and his marriage of classical Hollywood editing and Soviet-style montage. George Miller is a

APA, Harvard, Vancouver, ISO, and other styles

6

Gianvito, John. Andrei Tarkovsky: Interviews (Conversations With Filmmakers Series). University Press of Mississippi, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Filmmaker's Philosopher: Merab Mamardashvili and Russian Cinema. Edinburgh University Press, 2019.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

DeBlasio, Alyssa. Filmmaker's Philosopher: Merab Mamardashvili and Russian Cinema. Edinburgh University Press, 2021.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Filmmaker's Philosopher: Merab Mamardashvili and Russian Cinema. Edinburgh University Press, 2019.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Kelly, Catriona. Soviet Art House. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.001.0001.

Full text

Abstract:

This book examines cinema in the Brezhnev era from the perspective of one of the USSR’s largest studios, Lenfilm. Producing around thirty feature films per year, the studio had over three thousand employees working in every area of film production. The discussion covers the period from 1961 to the collapse of centralized state facilities in 1986. The book focuses particularly on the younger directors at Lenfilm, those who joined the studio in the recruiting drive that followed Khrushchev’s decision to expand film production. Drawing on documents from archives, the analysis portrays film produc

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Soviet Filmmaker"

1

Savich, O. "The Partisan Filmmaker." In Jewish Partisans of the Soviet Union during World War II. Academic Studies Press, 2021. http://dx.doi.org/10.2307/j.ctv1z3hkq7.26.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Savich, O. "The Partisan Filmmaker." In Jewish Partisans of the Soviet Union during World War II. Academic Studies Press, 2021. http://dx.doi.org/10.1515/9781644694947-024.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Kirasirova, Masha. "Scripting Central Asian Revolution for the Afro-Asian World." In The Eastern International. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197685693.003.0007.

Full text

Abstract:

Abstract The realization that film could reach greater audiences in the non-Western world than literature could led Soviet cultural bureaucracies to invest in and promote Afro-Asian cinematic networks. Yet telling stories about how the Soviet Union was decolonized proved more difficult for domestic Easterners than presenting non-white faces of the Soviet Union or acting out certain Muslim cultural codes. Tajik filmmaker Kamil Yarmatov struggled to craft a narrative about the Bolshevik revolution in the Soviet East that would appeal to domestic and foreign audiences. At the 1968 Afro-Asian Film

APA, Harvard, Vancouver, ISO, and other styles

4

Horton, Andrew. "“One should begin with zero”: A discussion with satiric filmmaker Yuri Mamin." In Inside Soviet Film Satire. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511527135.019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Younis, Ala. "No Soviet Engineer to Walk in Front of an Egyptian One." In Russian-Arab Worlds. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197605769.003.0029.

Full text

Abstract:

Abstract This chapter juxtaposes two versions of a single film to explore how Egyptian filmmaker Youssef Chahine responded to conflicting ideological pressures around representing the Aswan High Dam. Begun in 1960, the Soviet-financed Dam project was an icon of Egyptian economic development and Arab-Soviet “friendship.” Chahine’s lavishly co-produced film The People and the Nile was meant to document and celebrate this achievement, but it also raised uncomfortable questions about displaced Nubians, work opportunities for women, and more. In reconstructed film stills from the 1968 and 1970 vers

APA, Harvard, Vancouver, ISO, and other styles

6

Özgen, Asli. "A Wandering Eye: The Kino-Pedestrian." In The Aesthetics and Politics of Cinematic Pedestrianism. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724753_ch04.

Full text

Abstract:

This chapter focuses on the function of pedestrianism as a key component of Soviet Montage aesthetics, specifically coming to the fore in the film theory and practice of Dziga Vertov. The key function attributed by Vertov to the act of walking in film production is emphasized in his montage theory and his magnum opus Man with a Movie Camera. Contextualizing the images of walking in this film within the director’s theoretical writings, this chapter provides an in-depth study of how Vertov envisioned the camera operators (kinoks) as ambulant observers and archivers of everyday life. Imagining ci

APA, Harvard, Vancouver, ISO, and other styles

7

Siraganian, Lisa. "Sergei Eisenstein’s Collage." In A Modernist Cinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199379453.003.0004.

Full text

Abstract:

Soviet director Sergei Eisenstein’s films have become nearly synonymous with cinematic montage’s birth and development. Yet scholars have almost never aligned Eisenstein’s inventiveness with painterly collage, a deeply connected trend appearing in European art. This chapter considers why thinking about Eisenstein’s theory and practice of cinematic montage, in connection with the theory and practice of painterly collage, matters to the history of modernist meaning. For artists and filmmakers alike, cutting and pasting together disparate fragments of art’s elements (its units of sense) raised on

APA, Harvard, Vancouver, ISO, and other styles

8

Uher, Valerie. "The Inauguration of the Pleasure Dome (1954)." In Routledge Encyclopedia of Modernism. Routledge, 2024. http://dx.doi.org/10.4324/9780415249126-rem2142-1.

Full text

Abstract:

The Inauguration of the Pleasure Dome is a short experimental film by American filmmaker Kenneth Anger, celebrated for its provocative subject matter, surrealistic editing, and opulent, colourful mise-en-scène. Betraying a modernist fascination with occult themes, the film is dedicated to Aleister Crowley, whose Thelema religion inspired many of its characters. A non-narrative film, it portrays mythological, occult and historical figures engaging in ritualised preparations for a pan-sexual bacchanal, which concludes the film. The cast includes erotica author Anaïs Nin, who plays Astarte. Influ

APA, Harvard, Vancouver, ISO, and other styles

9

Condren, Dustin. "Introduction." In An Imaginary Cinema. Cornell University Press, 2024. https://doi.org/10.7591/cornell/9781501778469.003.0001.

Full text

Abstract:

This introductory chapter explores the unrealized works of Soviet filmmaker Sergei Eisenstein, emphasizing their role in bridging his theoretical and practical pursuits. The chapter examines his struggle to transform visionary concepts into tangible films, revealing the tension between imagination and materiality. It introduces unrealized cinema as a crucial aspect of Eisenstein's legacy, highlighting how these projects embody the complexities of creativity and incompletion. By analyzing archival remnants, the chapter uncovers the fragile, often ephemeral nature of cinematic creation, where id

APA, Harvard, Vancouver, ISO, and other styles

10

Condren, Dustin. "Toward an Imaginary Cinema." In An Imaginary Cinema. Cornell University Press, 2024. https://doi.org/10.7591/cornell/9781501778469.003.0002.

Full text

Abstract:

This chapter explores the concept of the unfinished in art, focusing on Soviet filmmaker Sergei Eisenstein's incomplete works. The chapter examines the interplay between fragments and wholes, showing how unfinished art invites viewers to imagine the absent whole. Drawing on historical examples such as Michelangelo's sculptures and Rodin's stylistic choices, the chapter demonstrates how incompleteness can serve as either a deliberate aesthetic strategy or the result of external constraints. The chapter introduces “imaginary cinema,” treating unrealized film projects as standalone objects that r

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Soviet Filmmaker"

1

González Cubero, Josefina. "Mirada objetiva y dimensión subjetiva del cine en Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.803.

Full text

Abstract:

Resumen: Los contactos de Le Corbusier con el mundo cinematográfico se dilatan a lo largo de su trayectoria profesional y recorren un amplio espectro. Se concretan en la concepción y construcción de salas dedicadas a la proyección del cine, la participación en proyectos y realización de películas, así como la publicación de un esporádico escrito monográfico titulado "Esprit de vérité" (1933). Este trabajo aborda la singularidad de su pensamiento cinematográfico frente al de otros insignes arquitectos coetáneos y pone de relieve el cambio que experimenta éste entre la película L’Architecture d’

APA, Harvard, Vancouver, ISO, and other styles

2

Martínez Millana, Elena. "Le Corbusier versus Sergei Eisenstein. La construcción de un sueño." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.824.

Full text

Abstract:

Resumen: Este artículo plantea la revisión de la relación entre el arquitecto Le Corbusier y el cineasta Sergei Eisenstein. Se lanza como hipótesis la posible influencia del cineasta en Le Corbusier. Le Corbusier versus Eisenstein en el sentido más profundo de ‘avanzar en dirección a’: Le Corbusier hacia la cinematografía, no como contraposición. Se esboza el papel de cada figura y su encuentro en el período de 1928-1936, tiempo en que Le Corbusier se aproximó a la Unión Soviética, un contexto que configura un marco complejo a partir del cual es posible entrever aquello que los vincula y que r

APA, Harvard, Vancouver, ISO, and other styles

3

Xiao, Fu. "SOVIET FILM EXPERTS AND THE "SOVIET EXPERIENCE" IN THE CONSTRUCTION OF NEW CHINESE CINEMA (1949‒1959)." In Chinese Studies in the 21st Century. Buryat State University Publishing Department, 2022. http://dx.doi.org/10.18101/978-5-9793-1802-8-2022-304-316.

Full text

Abstract:

In the 1950s, more than 20 Soviet film experts came to China to assist in the formulation of the "First Five-Year Plan" and the top-level design of the new Chinese film construction, assisted film studios and machinery manufacturing plants to improve their technology, assisted in the preparation of the Beijing Film Academy and participated in teaching, and laid the foundation for the initial formation of the new Chinese film system, technology and education. On this basis, the new Chinese filmmakers successfully inter-nalized the "Soviet experience", which led to a new situation in the constru

APA, Harvard, Vancouver, ISO, and other styles

4

Olarescu, Dumitru. "The historical-biographical film: destinies and personalities." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.10.

Full text

Abstract:

The history of national cinema shows that the evolution of non-fiction biographical film began with subjects dedicated to prominent personalities. These were included in the film magazine “Soviet Moldova” and in the almanac “Life in pictures”. In 1961, the first historical-biographical film “The Legendary Brigade Commander”- a eulogy to Grigore Kotovski (director A. Litvin) appeared at the “Moldova-film” studio, followed by other films dedicated to the heroes of the times: Pavel Tkacenko, Elena Sârbu, Tamara Cruciok, which were dominated by a pronounced propagandistic character. A new level of

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!