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Books on the topic 'Soviet Filmmaker'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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

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2

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

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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.

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4

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

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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

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5

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

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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

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6

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

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7

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

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8

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

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9

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

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10

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

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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

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11

Rollberg, Peter. Historical Dictionary of Russian and Soviet Cinema. 2nd ed. Rowman & Littlefield, 2016. https://doi.org/10.5040/9798881833398.

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Russian and Soviet cinema occupies a unique place in the history of world cinema. Legendary filmmakers such as Sergei Eisenstein, Vsevolod Pudovkin, Dziga Vertov, Andrei Tarkovsky, and Sergei Paradjanov have created oeuvres that are being screened and studied all over the world. The Soviet film industry was different from others because its main criterion of success was not profit, but the ideological and aesthetic effect on the viewer. Another important feature is Soviet cinema’s multinational (Eurasian) character: while Russian cinema was the largest, other national cinemas such as Georgian,

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12

Faraday, George. Revolt of the Filmmakers: The Struggle for Artistic Autonomy and the Fall of the Soviet Film Industry (Post-Communist Cultural Studies). Pennsylvania State University Press, 2000.

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13

Revolt of the Filmmakers: The Struggle for Artistic Autonomy and the Fall of the Soviet Film Industry (Post-Communist Cultural Studies). Pennsylvania State University Press, 2000.

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14

Titus, Joan. Dmitry Shostakovich and Music for Stalinist Cinema (1936-1953). Oxford University PressNew York, 2024. https://doi.org/10.1093/oso/9780197611326.001.0001.

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Abstract Dmitry Shostakovich was the first Russian musician to emerge as a composer for the Soviet cinema in the late 1920s. The Early Film Music of Dmitry Shostakovich (OUP, 2016), the first of a trilogy on Shostakovich’s music for cinema, provides a discussion of his first experiments in film scoring from 1928 to 1936. From 1936 to 1953, he grew into his role as film composer during the height of Stalinism. This book, the second of the trilogy, continues the work of the first by providing an examination of his emergence as a preeminent film composer, and his navigation of the Soviet film ind

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15

Toropova, Anna. Feeling Revolution. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198831099.001.0001.

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Stalin-era cinema was a technology of emotional and affective education. The filmmakers of the period were called on to help forge the emotions and affects that befitted the New Soviet Person—ranging from happiness and victorious laughter to hatred for enemies. Feeling Revolution: Cinema, Genre, and the Politics of Affect under Stalin shows how the Soviet film industry’s efforts to find an emotionally resonant language that could speak to a mass audience came to centre on the development of a distinctively ‘Soviet’ genre system. Its case studies of specific film genres, including the productio

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