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Journal articles on the topic 'Soviet Filmmaker'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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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.

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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

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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.

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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

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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.

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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

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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.

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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.

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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.

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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

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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.

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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

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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.

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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

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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.

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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

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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.

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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

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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.

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   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

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Dunlop, John B. "Russian Nationalism Today: Organizations and Programs." Nationalities Papers 19, no. 2 (1991): 146–66. http://dx.doi.org/10.1080/00905999108408196.

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Russian nationalists in the Soviet Union have, of course, always claimed to speak and act on behalf of the narod, the common folk, but the folk they have had in mind have been largely the inhabitants, and particularly the older inhabitants, of the fast-disappearing traditional Russian village. Aware that this narod has indeed been vanishing, Russian nationalist writers and publicists have stressed that the task at hand is to graft the “ethics and esthetics,” the accumulated wisdom and mores of this traditionalist populace, onto the life of deracinated modern Soviet man. The really existing and

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Jordan, Randolph. "The Ecology of Listening while Looking in the Cinema: Reflective audioviewing in Gus Van Sant'sElephant." Organised Sound 17, no. 3 (2012): 248–56. http://dx.doi.org/10.1017/s1355771811000458.

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This article argues that the state of spatial awareness engendered by the art of soundscape composition can be productively extended to the act of listening while looking in the cinema. Central to my argument is how Katharine Norman's concept ofreflective listeningin soundscape composition can be adapted toreflective audioviewingin the audiovisual context of film. Norman begins the process of intersecting film theory and the discourse of soundscape composition by appealing to famed Soviet filmmaker Sergei Eisenstein's theories of montage to illustrate how soundscape composition enables active

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Kurdiaev, Grigoriy Igorevich. "Synthesis of National and Transnational in A. Konchalovsky's American Movies." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 52–60. http://dx.doi.org/10.17816/vgik7252-60.

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In September 2014 Andrey Konchalovskiy's White Nights of Postman Alexey Tryapitsyn won Silver Lion for the Best Director at the Venice Film Festival. European critics and advanced public have regularly marked endowments of the Soviet and Russian film director. Throughout his career he has received numerous awards at prestigious European film festivals. There are Crystal Globe in Karlovy Vary for the Romance for Lovers (1974), Grand Prix at Cannes for Sibiriada (1979), the main prizes of San Sebastian for Uncle Vanya (1971) and Homer and Eddie (1989). Meanwhile, Konchalovsky's success among Ame

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Kunichika, Michael. "The Skull of the Syntax: On Translating Eisenstein's Capital Diaries." October, no. 188 (2024): 21–24. http://dx.doi.org/10.1162/octo_a_00515.

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Abstract The author discusses his translation of Sergei Eisenstein's Capital Diaries, focusing on such topics as Eisenstein's reflections on his own writing, the context of literary modernism in which he wrote, and the strains on psyche and syntax that the diaries reveal. It discusses the range of literary sources that Eisenstein made use of in the diaries, in particular the works of James Joyce and Velimir Khlebnikov. Also discussed are the challenges of translating the diaries, which constitute, all at once, a record of daily life, a series of cultural and political critiques, and a compendi

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Milydon, Valery. "The Mystery of Lexical Coincidences in the Works of Yuri Tynianov and Osip Mandelstam." Journal of Flm Arts and Film Studies 11, no. 4 (2019): 68–77. http://dx.doi.org/10.17816/vgik11468-77.

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The essay explores lexical coincidences in the works of Yuri Tynianov and Osip Mandelshtam coincidences which appeared in different time periods, independently of each other.In the second half of the 1920s, Tynianov wrote the novel Death of the Vazir-Mukhtar which, while dealing with events of the 1820s, anticipated the soon-tobe disappearance of free artistic speech.Ten years later, Tynianov's anticipation became a reality reflected in Mandelstam's poem Lamarck. Freedom of creative activity did not disappear completely but became, in many respects, a thing of the past. Even if the hope for th

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Darnbrough, Leanne Rae. "Visions of Disrupted Chronologies: Sergei Eisenstein and Hedwig Fechheimer’s Cubist Egypt." Arts 11, no. 5 (2022): 92. http://dx.doi.org/10.3390/arts11050092.

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By juxtaposing two ostensibly divergent characters, the Jewish art historian and Egyptologist Hedwig Fechheimer (1871–1942) and Soviet filmmaker and theorist Sergei Eisenstein (1898–1948), this paper investigates how both approaches folded time, creating Cubist chronologies. Fechheimer adapted the philological focus of her Berlin School contemporaries to create an ahistorical, anti-teleological grammar of ancient Egyptian art which espoused an artistic affinity between the Egyptians and the Cubist movement. Eisenstein, who held a copy of one of Fechheimer’s books in his personal library, took

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Altmann, Susanne. "Muratova, Chytilová Meeting Miss Butterfly and Franziska Linkerhand." History of Communism in Europe 15 (2024): 165–86. https://doi.org/10.5840/hce2024158.

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My essay investigates the representation of female protagonists in selected feature films that were produced in the Central European socialist realm of the 1960s and the long 1970s. While mainly concentrating on Czechoslovakian filmmaker Věra Chytilová and Kira Muratova from Soviet Ukraine, the study will also draw comparisons to the subversive heroines in two East German films. The unifying aspect consists of commenting on the literal construction of a socialist environment through architecture and urban planning. By means of contrasting the individual and the realisation of collective struc

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Yudin, K. A. "Soviet Film Policy of the Second Half of 1950s — Late 1970s." Modern History of Russia 12, no. 3 (2022): 752–73. http://dx.doi.org/10.21638/11701/spbu24.2022.315.

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The subject of this article is the film policy of the Soviet leadership in the period of “cold warming.” The term is used as a conditional-instrumental designation of the period — the second half of the 1950s to the late 1970s, clearly manifested as a management style in which elements of “détente” in the field of culture, cinematography, which appeared much earlier than this phenomenon in international relations, continuously coexisted with an atmosphere of tension between the USSR and the USA. On the basis of a wide range of sources, including archival documents used here or are subjected to

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Kostrykina, N. V. "CREATIVITY OF THE KRASNOYARSK DOCUMENTARY FILMMAKER I. ZAITSEVA AS A PHENOMENON OF REGIONAL AND NATIONAL CULTURE." Northern Archives and Expeditions 5, no. 2 (2021): 103–12. http://dx.doi.org/10.31806/2542-1158-2021-5-2-103-112.

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The article describes the work of Irina Borisovna Zaitseva, a world-famous Krasnoyarsk documentary film director, a member of the Board of the Union of Cinematographers and the Association of Documentary Films of the Russian Federation, whose film productions have not yet been the subject of film studies. Her films have won numerous prizes at prestigious All-Russian and international film festivals ("Russia", "Golden Knight", "Living Water", "Flahertiana", "Stalker", "Saratov Suffering", "Mediawave", "Documenta Madrid", "Docupolis", etc.). A number of documentary films reflect the history of n

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Miller-Klejsa, Anna. "Michelangelo Antonioni’s tetralogy of alienation on cinema screens in the People’s Republic of Poland: A study of the critical reception." Journal of Italian Cinema & Media Studies 12, no. 4 (2024): 559–74. http://dx.doi.org/10.1386/jicms_00284_1.

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The People’s Republic of Poland, an undemocratic state that existed from 1947 to 1989, was politically dependent on the Soviet Union. It relied on its cultural policy of heavily rationing access to products made in capitalist countries; few exceptions were made to this policy, but of them, Italian director and filmmaker Michelangelo Antonioni’s filmography was one of the most important, even though not all of his films were released to the Polish public until 1989. This article focuses on the critical reception of Michelangelo Antonioni’s ‘tetralogy of alienation’ in the People’s Republic of P

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Iordache, Florin-Alexandru. "The influence of Tarkovsky on the mystical gaze in Pontecorvo’s Fatima (2020)." Journal of Italian Cinema & Media Studies 11, no. 3 (2023): 471–85. http://dx.doi.org/10.1386/jicms_00192_1.

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Unlike his predecessors, who made films about the event Milagre do Sol (‘The miracle of the sun’) that occurred in Fatima (Portugal, 13 October 1917), Marco Pontecorvo represents an enriched and original mystical gaze in his 2020 film Fatima. To achieve this, the Italian filmmaker drew inspiration from the creations of other directors, whose cinematic works have been described by some theorists or commentators as ‘mystical’. This article explores Andrei Tarkovsky’s influence on the mystical gaze in Pontecorvo’s film, considering the poetics of the four elements (air, earth, water, sun) and oth

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Strukov, Vlad. "Ludic Digitality: A. Sokurov's Russian Ark and A. Popogrebskii's How I Ended This Summer as Cinegames." Digital Icons: Studies in Russian, Eurasian and Central European New Media, no. 8 (June 7, 2012): 19–45. https://doi.org/10.5281/zenodo.14739462.

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The article explores A. Sokurov’s Russian Ark and A. Popogrebskii’s How I Ended This Summer as cinegames, i.e. examples of hybridization of media—film and computer gaming—and associated narrative styles, forms of presentation and identity construction. How I Ended This Summer is a psychological thriller and Russian Ark is an experimental film that explores Russian imperial history. The two films share an interest in Russian and Soviet modernity both in its artistic and technological manifestations, and they utilise digital technology in order to explore new types of sub

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Simyan, Tigran S. "Artavazd Pelechian’s “Montage-at-a-Distance” in Semiotic Perspective (By the Example Director’s Theoretical Essays)." Critique and Semiotics, no. 1 (2024): 64–89. http://dx.doi.org/10.25205/2307-1753-2024-1-64-89.

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The article explores the renowned Armenian documentary filmmaker Artavazd Pelechian (born 1938), whose acclaim surged in 1988, marking the end of the Soviet era, when many figures of Armenian culture became peripatetic. Through a semiotic lens and metalanguage, the article delves into the core elements of “Montage-at-aDistance,” examining the interplay between image and sound/music, and the generative potential inherent in the director’s cinematic language. It particularly emphasizes a distinct montage language, founded not on coupling, docking, and splicing film frames (akin to Dziga Vertov a

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Géry, Catherine. "Du mélodrame de salon à la Révolution : Evguéni Bauer en 1917 (à propos du film Le Révolutionnaire)." Slavica Occitania 51, no. 1 (2020): 205–19. https://doi.org/10.3406/slaoc.2020.1329.

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From “ Salon” Melodrama to the Revolution : Yevgeni Bauer in 1917 (on the film The Revolutionary). In his mid-length film The Revolutionary (1917), which situates the political events of the time in a family setting, Yevgeni Bauer broaches the question of filiation, as does Turgenev in Fathers and Sons or Dostoyevsky in Demons. The famous Russian filmmaker, who signed his final film here after a career essentially devoted to “salon” melodrama, revisits the connection made by the writers of the second half of the 19th century between family and politics, the father/ son relationship being one o

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Kirillova, Natalya. "The Existential World of Kira Muratova." Journal of Flm Arts and Film Studies 11, no. 4 (2019): 78–89. http://dx.doi.org/10.17816/vgik11478-89.

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2019 is the year of the 85th anniversary of Kira Muratova (19342018), a filmmaker whose work occupies a special place in world cinema. Women with a particular psychoanalytic bent are rarely found among film directors for this reason, Muratovas twenty films, mostly known to a narrow circle of experts, are especially interesting as a research subject. Made during the Soviet and post-Soviet years, they have not become cinematographic annals of the age, playing quite a different role. Muratovas works are art films which interpret reality by creating a unique existential world. As an artist, Murato

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Briuchowecka, Łarysa. "Польща в українському кіно". Studia Filmoznawcze 37 (14 вересня 2016): 25–88. http://dx.doi.org/10.19195/0860-116x.37.5.

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POLAND IN UKRAINIAN CINEMAMultinational Ukraine in the time of Ukrainization conducted a policy which was supportive of the national identity, allowed the possibility of the cultural development of, among others, Jews, Crimean Tatars, and Poles. Cinema was exemplary of such policy, in 1925 through to the 1930s a number of films on Jewish and Crimean Tatar topics were released by Odessa and Yalta Film Studios. However, the Polish topic, which enjoyed most attention, was heavily politicized due to tensions between the USSR and the Second Commonwealth of Poland; the Soviet government could not fo

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Briuchowecka, Łarysa. "Polska w kinie ukraińskim." Studia Filmoznawcze 37 (September 14, 2016): 89–150. http://dx.doi.org/10.19195/0860-116x.37.6.

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POLAND IN UKRAINIAN CINEMAMultinational Ukraine in the time of Ukrainization conducted a policy which was supportive of the national identity, allowed the possibility of the cultural development of, among others, Jews, Crimean Tatars, and Poles. Cinema was exemplary of such policy, in 1925 through to the 1930s a number of films on Jewish and Crimean Tatar topics were released by Odessa and Yalta Film Studios. However, the Polish topic, which enjoyed most attention, was heavily politicized due to tensions between the USSR and the Second Commonwealth of Poland; the Soviet government could not fo

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Szakolczai, Arpad. "Introduction to the IPA Interview with A. Tarkovsky Jr." International Political Anthropology 15, no. 2 (2022): 135–39. https://doi.org/10.5281/zenodo.7494921.

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Andrei Tarkovsky is widely recognised as one of the most famous film directors of all times. However, this claim can, and arguably should, be extended in two directions. First, we would argue that Tarkovsky is not simply a famous filmmaker but is a unique giant of the cinema; in this genre he plays the same role as Shakespeare in theatre, Dickens in the novel, or Baudelaire in modern poetry: he simply has no equivalents – the closest competitors being Akira Kurosawa, Luis Buñuel, and Werner Herzog. Second, and even further, his work has special relevance for Political Anthropology

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Geissler, Erhard, and Robert Hunt Sprinkle. "Were our critics right about the Stasi?" Politics and the Life Sciences 38, no. 1 (2019): 32–61. http://dx.doi.org/10.1017/pls.2018.27.

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Background. Disinformation, now best known generically as “fake news,” is an old and protean weapon. Prominent in the 1980s was AIDS disinformation, including the HIV-from-Fort-Detrick myth, for whose propagation some figures ultimately admitted blame while others shamelessly claimed credit. In 2013 we reported a comprehensive analysis of this myth, finding leading roles for the Soviet Union’s state security service, the KGB, and for biologist and independent conspiracy theorist Jakob Segal but not for East Germany’s state security service, the Stasi. We found Stasi involvement had been much l

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Yaqub, Nadia. "Mohammad Malas, The Dream: A Diary of the Film (Cairo: American University in Cairo Press, 2016). Pp. 181. $24.95 paper. ISBN: 9789774167997./Al-Manam/The Dream (Syria), 1987. Color, 45 min. In Arabic with English, French and German subtitles. Director: Mohammad Malas; Distributor: mec film, http://mecfilm.com/index.php?id=1624." Review of Middle East Studies 52, no. 1 (2018): 177–79. http://dx.doi.org/10.1017/rms.2018.23.

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In 1980 Muhammad Malas began research for a documentary about Palestinians in the refugee camps of Lebanon. Malas, who had received training in filmmaking at the All Soviet Institute of Cinematography (VGIK) in Moscow, had already worked for a decade directing documentaries for Syrian television. He researched and filmed in Lebanon during long visits in 1980 and 1981, but his work was interrupted by the Israeli attacks on Lebanon in 1981 and 1982 and the Camps War that raged in the refugee camps of the southern suburbs of Beirut in the mid-1980s. Al-Manam (The Dream) was finally completed in 1

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Goryachok, K. L. "Dziga Vertov and Walt Whitman: Poetic Image in Documentary Films." Discourse 8, no. 1 (2022): 51–63. http://dx.doi.org/10.32603/2412-8562-2022-8-1-51-63.

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Introduction. The article is devoted to the little-studied issue of the influence of the American poet Walt Whitman on the work of the Soviet film director Dziga Vertov. The creative world of films and literary experiences of the documentary filmmaker is largely inspired by the images of American poet.Methodology and sources. On the basis of Vertov`s scripts, poems and archival documents, author analyzes the phenomenon of the director`s dialogue with Whitman and his poetry. In a comparative analysis of the aesthetics of the two artists, revealed that the philosophical ideas and imaginative sys

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TSVETKOVA, M. V. "FILM ADAPTATION AS A PHENOMENON OF INTERSEMIOTIC TRANSLATION. A CASE STUDY OF TWO FILM VERSIONS OF SHAKESPEARE’S HAMLET." Imagologiya i komparativistika, no. 22 (2024): 124–44. https://doi.org/10.17223/24099554/22/8.

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The article focuses on film adaptation as a phenomenon of intersemiotic translation. Using the “close viewing” technique, the author provides a comparative analysis of the episodes representing the soliloquy “To be or not to be” in two film versions of Shakespeare’s Hamlet: by Laurence Olivier (1948) and Grigoriy Kozintsev (1964). The comparison reveals a radical difference in the central idea of the film adaptations, though the soliloquy in both films is presented without changes or abbreviations. The specific semiotic capabilities of film language, due to the “meaning of the unsaid,” allow f

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Ter-Grigoryan, Svetlana Y. "Sexism on the Silver Screen: Misogyny and Cultural Continuity in Soviet Glasnost Cinema, 1987–1991." Soviet and Post-Soviet Review 44, no. 3 (2017): 209–32. http://dx.doi.org/10.1163/18763324-00001204.

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In the early 1990s, scholars largely viewed the height of the glasnost years, 1987 to 1991, to be a culturally and socially distinct period in comparison to the rest of the Soviet epoch. One of the main pieces of evidence employed in this argument was glasnost filmmakers’ novel use of sexuality and nudity. The debate about the cultural significance of the glasnost period, however, has been muted in recent decades. In this reevaluation, I suggest that the misogynistic nature of glasnost filmmakers’ sexuality and nudity depictions actually reflected cultural continuity with previous Soviet eras.

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Strupule, Inese. "LATVIAN AMATEUR DOCUMENTARY FILM, 1970s–1980s: FAMILY, COMMUNITY, TRAVEL, AND POLITICS IN THE FILMS OF ULDIS LAPIŅŠ, INGVARS LEITIS, AND ZIGURDS VIDIŅŠ." Culture Crossroads 10 (November 10, 2022): 63–76. http://dx.doi.org/10.55877/cc.vol10.142.

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In the 1950s, amateur filmmaking had become a well-established feature of everyday life in the Soviets Union. However, in contrast to the state film industry, no centralized governmental body existed to control amateur filmmakers. As a result, state ideology was not always the primary motivation for making amateur films. The works that dared to experiment invariably emerged from the periphery, and the Latvian SSR became one of the citadels of the Soviet amateur film movement. Drawing upon the amateur film collection held at the Latvian State Archive of Audiovisual Documents, this paper will id

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Belov, S., and A. Zhidchenko. "The image of the phantom threat to children by the United States in Soviet historical cinema of the cold war period." Journal of Political Research 4, no. 1 (2020): 25–37. http://dx.doi.org/10.12737/2587-6295-2020-25-37.

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The presented study is devoted to studying the practice of constructing the image of a phantom threat to children from the side of an external enemy through historical discourse in the cinema of the USSR and the USA during the Cold War. The aim of this work is to identify common and specific features in the approaches of filmmakers of the two countries to the formation of the image of a phantom threat for children from the side of an external enemy. The research methodology is built on the basis of a combination of historical genetic, comparative and descriptive, as well as content analysis. T

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Taylor, Richard. "Singing on the Steppes for Stalin: Ivan Pyr'ev and the Kolkhoz Musical in Soviet Cinema." Slavic Review 58, no. 1 (1999): 143–59. http://dx.doi.org/10.2307/2672993.

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In his celebrated "secret speech" to the delegates to the Twentieth Party Congress in February 1956, Nikita Khrushchev singled out Soviet filmmakers for their part in establishing and maintaining Stalin's personality cult. Although not specifically mentioned by Khrushchev, one film has been generally identified as a prime example of the way in which those filmmakers "varnished the reality," particularly of the Soviet countryside during the Stalin period: Ivan Pyr'ev's Kubanskie kazaki (The Kuban cossacks) made in the film-famine year of 1949 and released in February 1950. But let us look at wh

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Graham, Seth. "History, Power, and Incomplete Epistolarity in Post-Soviet Cinema." Área Abierta 19, no. 3 (2019): 383–99. http://dx.doi.org/10.5209/arab.65501.

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This article examines epistolary enunciation in the recent cinema of former Soviet republics (Russia, Ukraine, and Estonia), and in particular how filmmakers use the letter device in their engagements with their nations’ past, present, and future. After discussing the post-Soviet epistolary through the prism of the region’s history, with reference to Altman (1982) and Naficy (2001), the article analyses the device in specific films. Recent examples often follow the Soviet-era model of the letter as a medium for contact not only (or primarily) between individuals, but also for more abstract kin

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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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Pērkone, Inga. "DOCUMENTARY FILMMAKERS’ ANTI-COMMUNIST MANIFESTO. THE FILM “KULDĪGA FRESCOES” (AIVARS FREIMANIS, 1966)." Culture Crossroads 10 (November 10, 2022): 19–30. http://dx.doi.org/10.55877/cc.vol10.139.

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In his book The Communist Post Scriptum, philosopher Boris Groys defines communism as a revolutionary project, the aim of which was to subordinate the economy to politics and to transform society from a financial medium into a lin- guistic medium. In order to achieve communism, it was first necessary to verbalise society. At the beginning of the 1960s, efforts by Riga poetic documentary film- makers to work in the cinéma vérité style failed because the Soviet people, having experienced a linguistic turn, clearly knew what to say and how to speak when approached by film cameras. It was one of t

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Эли, Марк. "Селевой поток в кинематографе Казахстана в 1970–1980-е годы: научное изучение и киноизображение (на основе научного, трех документальных и художественного фильма-катастрофы)". Qazaq Historical Review 3, № 1 (2025): 73–98. https://doi.org/10.69567/3007-0236.2025.1.73.98.

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The article analyzes the history of scientific study of the nature of mudflows in the vicinity of Soviet Alma-Ata (Almaty), and the circumstances of the creation of the first films about mudflows in the cinema of Soviet Qazaqstan in the 1970–1980s. Soviet scientists have provided multiple explanations for the dangerous and elusive natural phenomenon of mudflows. The article is based on the stories of five films about mudflows, reflecting scientific discussions and the political will of the leaders of Soviet Qazaqstan around this topic. These include the first scientific film, "Mudstone Stream,

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GOLOVNEVA, ELENA V., and IVAN A. GOLOVNEV. "Scientific pursuits in Soviet Cinema of the 1920s–1930s and Anatoly Terskoy’s Parallel Filming." Art and Science of Television 18, no. 4 (2022): 151–70. http://dx.doi.org/10.30628/1994-9529-2022-18.4-151-170.

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In this paper, we consider a unique period in the development of Soviet cinema, from 1928 to 1932, when the Geographical and Ethnographic Cinema-Atlas project was underway. It implied the making of a series of cultural films about the peoples and cultures of the USSR and, therefore, involved the search for scientific grounds for advancing cinematic art. In the second half of the 1920s, some Soviet filmmakers even worked out specific methods, based on real scientific research, which could be applied in the field of documentary. For example, one of the key trends in the theory and methodology of

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Marusenkov, Vyacheslav V. "Screen Image of Sports Achievement in the Context of the Formation of Modern Sociocultural Paradigm." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 2 (June 2024): 174–87. http://dx.doi.org/10.35852/2588-0144-2024-2-174-187.

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The article deals with the new tendency which appeared in the filmmaking process of the recent decades. Many filmmakers took the stories about sports achievements of the Soviet past and nowadays reality as the basis for the film script. They address to both real events and fictional stories. The most successful films about sports achievements (Legend No. 17, Moving Up, Ice) make it possible to identify the patterns, artistic and meaningful images and persistent mythologems, associated with this sphere of culture, which the filmmakers use. The desire of filmmakers to use such stories about athl

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Yudin, Kirill. "“Rootless cosmopolitanism” and Soviet filmmakers in the conditions of the Cold War." OOO "Zhurnal "Voprosy Istorii" 2022, no. 12-3 (2022): 26–39. http://dx.doi.org/10.31166/voprosyistorii202212statyi123.

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The article continues the tradition of studying the ideological campaigns of late Stalinism and their most severe stages-manifestations in terms of concentration and intensity of application of political technologies - the struggle against “rootless cosmopolitanism”. Specific episodes of the control and repressive influence, sanctions against cultural figures, the Soviet cinematographic intelligentsia are investigated, detailed. The instrumental purpose of the campaign is established in the genesis of the imagological conflict, the formation of the “image of the other”, “enemy number one”, seg

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Golovnev, I. A. "The Northernness in the cinema-documents: the expeditions “Cinema-Eyes” in the 1920s." BULLETIN OF UGRIC STUDIES 14, no. 2 (2024): 371–81. http://dx.doi.org/10.30624/2220-4156-2024-14-2-371-381.

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the North historically inspired the creative experiments of filmmakers with its ethnographic color. As a result, the images of more than a century-old cultural evolution of ethnic communities were reflected in a significant set of visual documents. Since many original traditions of the indigenous northerners have been lost or disappeared in the past, the archival films give a modern researcher a unique opportunity – to see elements of gone cultures in their mobile relationships, to comprehend their driving causality. Objective: to introduce into humanitarian circulation information about unexp

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Pronin, A. А., Y. A. Mahonin, and A. V. Svyatoslavsky. "Transformation of the narrative about the Afgan war in Soviet and Post-Soviet documentaries (1980-2021)." BULLETIN of L.N. Gumilyov Eurasian National University. Journalism Series 145, no. 4 (2023): 73–82. http://dx.doi.org/10.32523/2616-7174-2023-145-4-73-82.

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The article analyzes display of narratives of participants of the Afghan war in documentaries from «perestroika» till early 2020s. The study reveals the differences between expressive means and the narrative strategies, used by documentary filmmakers, and also identifies two types of narratives about the Afghan war of the second half of the 80s: official, corresponding to the «big narrative» of the state, and alternative, based on the personal narratives of participants of war and their relatives. The transformation of narratives is reflected through a comparative analysis of post-Soviet works

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Ikonen, Susan. "The Reception of Leviathan in Light of Two Soviet “Cultural Scandals”: A Revival of Soviet Rhetoric and Values?" Transcultural Studies 12, no. 1 (2016): 92–114. http://dx.doi.org/10.1163/23751606-01201005.

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Andrei Zviagintsev’s award-winning movie “Leviathan” (2014) triggered a fierce debate among domestic audiences in Russia. It was blamed for being anti-Russian and slandering Russian life. The rhetoric of these accusations reminded many Russians of Soviet-era campaigns against writers and filmmakers. This article analyses the film’s reception by different audiences, of which the most critically harsh and insistent voice was that of the Orthodox activists. The article also attempts to connect expressions of patriotism and shared identity with Soviet-era models. In this context, it discusses Stal

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Pushkareva, Natalia, Sergej Belov, and Alexander Zhidchenko. "“Taiga Leningrad women”: the everyday life of women in Angarsk in 1950s—1960s." OOO "Zhurnal "Voprosy Istorii" 2022, no. 3-1 (2022): 95–103. http://dx.doi.org/10.31166/voprosyistorii202203statyi32.

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The authors analyze the history of the everyday life of the inhabitants of the Soviet Angarsk, built in the 1950s-1960s in Eastern Siberia according to the project of Leningrad architects as an exemplary city. Analyzing the history of the creation of the sociocultural environment of the city, landscaping and landscaping, they show the ways of forming a new urban environment in which the daily life of the workers of the Soviet petrochemical industry unfolded, the features of everyday life in the new city in terms of work, leisure, raising children. Particular emphasis is placed on the reflectio

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Västrik, Riho. "Constructing National Identity in Soviet Estonian Documentary Cinema: A Case Study of the Documentary Ruhnu (1965) by Andres Sööt." Baltic Screen Media Review 3, no. 1 (2015): 4–29. http://dx.doi.org/10.1515/bsmr-2015-0021.

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Abstract This article aims to find out how Soviet Estonian documentaries constructed the national discourse in the 1960s, by focusing on the case of the 10-minute documentary Ruhnu (1965) by Andres Sööt. Ruhnu was the first Soviet Estonian documentary released after World War II that romanticised Estonian nationalism. In order to narrate the national ideals considered undesirable by the official ideology, the Soviet Estonian filmmakers often chose to portray characters embedded in the national consciousness as archetypal heroes from pre-Soviet times and the landscapes associated with them. In

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Pērkone, Inga. "TOWARDS SOCIAL CINEMA: EXTENDING OF RIGA POETIC STYLE IN THE 1970s." Culture Crossroads 12 (November 10, 2022): 19–34. http://dx.doi.org/10.55877/cc.vol12.122.

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In the 1960s, a group of young and very gifted documentary filmmakers established themselves at Riga Film Studio and developed a poetic style, based on visual metaphors which they named themselves as Riga Style but later in the Soviet and East European context the style and its creators came to be known as Riga Poetic Documentary Film School. Yet in the 1970s one can identify pronounced focusing by the documentary filmmakers on social issues, the aspirations to offer in their films analysis of the problems existing in the society and sometimes offering their solution without losing the artisti

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Rostotskaya, Marianna Albertovna. "Maupassant's "Boule de Suif" in Soviet Translation." Journal of Flm Arts and Film Studies 3, no. 1 (2011): 58–66. http://dx.doi.org/10.17816/vgik3158-66.

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The article is published to commemorate Mikhail Romm's centenary. By analyzing the film "Boule de Suif", the well-known Soviet filmmaker's debut, the author tries to reveal the transformation of the meanings of Maupassant's short story in a certain historic, social and ideological context, to show how the film reflected not only the ideological cliches of the time, but the wise insight of the director who had always developed in himself the astuteness of vision and sense of time.

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