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Journal articles on the topic 'Soviet montage'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Rohdin, Mats, Ethan de Seife, and James Deutsch. "3� Soviet Montage Directors." Film International 3, no. 6 (2005): 44–47. http://dx.doi.org/10.1386/fiin.3.6.44.

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2

Кукулин [Kukulin], Илья [Ilya]. "Приватизация бунта: “вторая жизнь” раннесоветского монтажа [Privatization of a riot: “Second life” of the early Soviet montage]". Sign Systems Studies 41, № 2/3 (2013): 266–311. http://dx.doi.org/10.12697/sss.2013.41.2-3.08.

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Privatization of a riot: “Second life” of the early Soviet montage. This paper deals with montage in the broad sense of the term: it is discussed not as a principle of film editing, but as an aesthetic method based on the contrasting combination of elements; in the case of literary narrative, montage can be defined as a contrasting parataxis. Being understood in that sense, montage became an international “grand style” of the post-WWI epoch. In the Soviet Union this new method had many ideological connotations. It represented history (the historical process as such) as creative and cruel viole

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3

Chan, Jessica Ka Yee. "Translating ‘montage’: The discreet attractions of Soviet montage for Chinese revolutionary cinema." Journal of Chinese Cinemas 5, no. 3 (2011): 197–218. http://dx.doi.org/10.1386/jcc.5.3.197_1.

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4

Mayne, Judith. "Soviet Film Montage and the Woman Question." Camera Obscura: Feminism, Culture, and Media Studies 7, no. 1 (1989): 24–53. http://dx.doi.org/10.1215/02705346-7-1_19-24.

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Nemchenko, L. "Montage as the Meaning-generative Principle of Avant-garde: From Montage in Cinema to Montage in Theatre (Soviet and Post-Soviet Theatre and Cinema)." KnE Social Sciences 3, no. 7 (2018): 114. http://dx.doi.org/10.18502/kss.v3i7.2469.

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6

Krouk, Dean. "The Montage Rhetoric of Nordahl Grieg’s Interwar Drama." Humanities 7, no. 4 (2018): 99. http://dx.doi.org/10.3390/h7040099.

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This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusse

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Gulyaeva, Yana V. "The role and basic aspects of ‘‘the montage of attractions’’ in Russian cinema." Journal of Flm Arts and Film Studies 11, no. 3 (2019): 76–85. http://dx.doi.org/10.17816/vgik11376-85.

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The essay is devoted to the application of the concept of the Montage of Attractions in Russian cinema in different time periods. The relevance of the essay is determined by the need to explore the influence of the Russian avant-garde on the world artistic process. In the opinion of the author, the key concept of the avant-garde film thought of the 1920s, the theory of the Montage of Attractions, deserves a separate independent study. Considering "the Montage of Attractions" from a historical perspective, the author analyzes various trends in Soviet cinema. Starting from the basic idea o

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8

Blackledge, Olga. "Lev Kuleshov on Animation: Montaging the Image." Animation 12, no. 2 (2017): 110–22. http://dx.doi.org/10.1177/1746847717708971.

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The Soviet film director Lev Kuleshov has not been historically associated with animation, and yet his legacy includes: an article on animation published in the Soviet central specialized newspaper Kino Gazeta; a film, a substantial part of which is animated; as well as a text of four lectures preserved in the Russian State Archive of Literature and Art (RGALI). In the lectures that he delivered to animators at the Soviet central animation studio Soiuzmul’tfil’m, he repurposes his theories of montage and acting for the needs of the medium of animation. Analyzing these materials, with the prima

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Lumans, Valdis O. "Harvest of Despair: Life and Death in Ukraine under Nazi Rule." Central European History 39, no. 1 (2006): 160–63. http://dx.doi.org/10.1017/s000893890634006x.

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Reading Karel C. Berkhoff's Harvest of Despair: Life and Death in Ukraine under Nazi Rule reaps reward but also some disappointment. For the general public unfamiliar with the historical issues and intricacies of the Nazi occupation of the Soviet Union, this book contains far more reward as a montage of vivid depictions of everyday life under German domination in the occupied East. But conversely, for those with a more advanced, research-level familiarity with the subject, the results are reversed.

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10

Edmond, Jacob. "Scripted Spaces: The Geopoetics of the Newspaper from Tret’iakov to Prigov." Slavic Review 75, no. 2 (2016): 299–330. http://dx.doi.org/10.5612/slavicreview.75.2.299.

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AbstractThis essay examines Sergei Tret’iakov’s and Dmitrii Prigov’s turn to the newspaper in their search for a symbolic form adequate to the geopolitical flux at the beginning and endpoints of Soviet history. Fusing the epic and the sublime with the modernist montage principle, both present the newspaper as embodying simultaneously totalizing and disintegrative imaginings of space. Reflecting his avant-gardist and statist commitments, Tret’iakov’s newspaper-epic andocherkjournalism figure the tension between socialist internationalism and socialism in one country and between federal and cent

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11

Dyshlyuk, Liubov. "Esfir Shub." Feminist Media Histories 2, no. 3 (2016): 11–28. http://dx.doi.org/10.1525/fmh.2016.2.3.11.

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An unsurpassed master of compilation cinema, Esfir Shub is a major figure in the history of Soviet film. Shub's concept of film editing emerges clearly in the four articles that are presented here for the first time in English. They are selected from Zhizn' moya – kinematograf (Cinema Is My Life, 1972), a collection of her essays, public speeches, and letters as well as descriptions of unfinished projects. The texts document Shub's thoughts on montage and her important work as a pioneer of found footage cinema, offering insights into the making of such groundbreaking archival compilation films

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Nesbet, Anne. "Skyscrapers, Consular Territory, and Hell: What Bulgakov and Eizenshtein Learned about Space from Il'f and Petrov's America." Slavic Review 69, no. 2 (2010): 377–97. http://dx.doi.org/10.1017/s0037677900015047.

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The Soviet comic writers Il'ia Il'f and Evgenii Petrov traveled across America in late 1935–36, gathering material for the travelogue published upon their return as “Odnoetazhnaia Amerika” (One-Story America) in the journal Znamia and then as a book in 1937, just at the time of Il'f's death. The book was a popular success and remarkably influential: the architectural structures of “One-Story America“—its skyscrapers, staircases, one-story bungalows—reappear in literary and cultural monuments of the 1930s and 1940s, namely Mikhail Bulgakov's novel about the Devil's eventful visit to Moscow, The

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Zvereva, Galina I. "COLLECTIVE MEMORY OF THE SOVIET PAST ON YOUTUBE: TECHNIQUES FOR AUDIOVISUAL CONSTRUCTION BY ORDINARY VIDEO BLOGGERS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 133–47. http://dx.doi.org/10.28995/2686-7249-2020-8-133-147.

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The YouTube platform hosts a multitude of video clips that contain various media representations of the collective memory of Soviet history. In this array of multimedia products, videos created by ordinary bloggers take their own place. Videos with themes about the recent Past are formed on the basis of digitized fragments of documentary and fiction films, photographs, posters, postcards, drawings, etc. Verbal comments of viewers-users to videos expand and change their semantic content. The purpose of the article is to reveal in the videos of ordinary bloggers various techniques for audiovisua

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14

Schwartz, Peter J. "Aby Warburg and Cinema, Revisited." New German Critique 47, no. 1 (2020): 105–40. http://dx.doi.org/10.1215/0094033x-7908406.

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Abstract The final, unfinished project of the Hamburg art historian and Kulturwissenschaftler Aby M. Warburg (1866–1929)—the so-called Mnemosyne image atlas (Bilderatlas)—has recently drawn increased attention not only from scholars but also from artists and museum curators. Within this reception, the idea has gained currency that Warburg’s strategy of image arrangement in the Mnemosyne atlas bears a significant relationship to the techniques and aesthetics of cinema. Yet little evidence exists that Warburg ever paid much attention to cinema’s formal or technical means of expression, or much e

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15

Jeon, Pyoung-Kuk, and Noh-Ik Kim. "Dziga Vertov's Film Theory of Soviet Silent Film -By Comparison between Montage Theory of Sergei Eisenstein and Dziga Vertov Film Theory-." Journal of the Korea Contents Association 10, no. 8 (2010): 147–58. http://dx.doi.org/10.5392/jkca.2010.10.8.147.

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16

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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17

Koljazin, V. F. "Free Artist in the Strong Arms of Power (1928–2020)." Philosophical Letters. Russian and European Dialogue 3, no. 4 (2020): 175–202. http://dx.doi.org/10.17323/2658-5413-2020-3-4-175-202.

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In the summer of 1928, the famous Soviet Director, Creator of biomechanics and Director of the theater named after him, GOSTIM Vsevolod Emilevich Meyerhold (1874–1940) went to Paris to organize a foreign tour and suddenly received an order from the leadership of the cultural authorities to immediately return back. Tours are prohibited, and his theater faces liquidation. The Director is going through a severe moral crisis, a nervous breakdown forces him to go to the South of France for treatment. The subject of this article is the study of Parallels between the cultural policy of the Soviet par

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18

Putsіata, Iryna. "FEATURES‌ ‌OF‌ ‌INFTAINMENT‌ ‌PENETRATION‌ ‌INTO‌ ‌THE‌ ‌NEWS‌ ‌ JOURNALISM‌ ‌OF‌ ‌TV‌ ‌CHANNELS‌ ‌:‌ ‌«1+1»,‌ ‌«STB»,‌ ‌«ICTV»‌ ‌." Bulletin of Lviv Polytechnic National University: journalism 1, no. 1 (2021): 1–6. http://dx.doi.org/10.23939/sjs2021.01.001.

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The article describes the peculiarities of infotainment penetration into news journalism of TV channels: «1+1», «STB», «ICTV» (on the example of programs: «TSN», «Vikna-nowyny», «Facty. Informaciynyi vypusk»). Infotainment as a multifaceted means of filling the television air, a multifunctional aspect of mass and interpersonal communication is considered. Efficiency is achieved by working on certain schemes, as shown in this paper. The author draws attention to the fact that in Ukraine the active introduction of the infotainment method on television began after the collapse of the Soviet Union

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19

KONSON, GRIGORIY R., and IRINA A. KONSON. "HANDEL’S OPERAS IN THE CONTEXT OF CONTEMPORARY DIRECTING: ON THE IMPLEMENTATION OF FILM COMPOSITION PRINCIPLES IN OPERA PERFORMANCES." ART AND SCIENCE OF TELEVISION 16, no. 2 (2020): 101–25. http://dx.doi.org/10.30628/1994-9529-2020-16.2-101-125.

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The article was inspired by the authors’ reviews of modern productions of Handel’s Baroque operas in 2019, presented in the three German cities: Halle, Bad Lauchstädt and Bernburg. Halle, where Georg Friedrich Handel (1685–1759) was born, is also a venue of the annual International Handel Festival, dedicated to the works of the great Saxon and his contemporaries. The concept of the festival in 2019, Sensitive, heroic, sublime: Handel’s women, was devoted to studying the female images embodied in his operas. In considering the scientific and artistic concept, the authors concluded that the dire

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20

Dufaure, Jean-Jacques, and Pierre Thorez. "Les montagnes post-soviétiques, crises et mutations (Post-soviet mountains : crisis and mutations)." Bulletin de l'Association de géographes français 83, no. 2 (2006): 207–20. http://dx.doi.org/10.3406/bagf.2006.2507.

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21

Salvador Liern, Vicent. "L’assaig com a gènere: un territori de frontera." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 12 (December 21, 2018): 71. http://dx.doi.org/10.7203/scripta.12.13664.

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Resum: El gènere assagístic es configura amb Michel de Montaigne, com a forma de deliberació interior de l’autor, i posteriorment ha estat cultivat per importants autors de la literatura occidental. La seua definició no és fàcil d’establir. D’una banda, sovint s’ha situat a la frontera del discurs literari, al qual s’introdueix de ple dret quan el seu estil exhibeix una textura estilística molt elaborada i no es redueix a una escriptura expositiva pròpia del discurs acadèmic. Les zones de transició amb la literatura del jo i amb el periodisme són, sens dubte, dignes d’atenció. D’altra banda, e

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22

Mononen, Sini. "Epäilyksen musiikki ja anteeksiannon montaasi." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (2021): 42–56. http://dx.doi.org/10.23994/lk.111160.

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Artikkeli käsittelee yhteisön affektiivista kuvaa nordic noir -televisiosarjan Kaikki synnit (ohj. Mika Ronkainen) musiikissa. Nordic noirin lajityyppiin kuuluu keskeisenä affektina epäilys. Artikkelissa tarkastellaan sarjan keskeistä teemaa, anteeksiantoa, epäilyksien affektiivisena vastinparina.Sarjan tarinamaailma sijoittuu fiktiiviseen pohjoispohjanmaalaiseen Varjakan kuntaan, jonka valtaväestö on vanhoillislestadiolaista. Nordic noirille lajityypilliseen tapaan sarjan tarina nousee ajankohtaisesta yhteiskunnallisesta kysymyksestä, joka Kaikki synnit -televisiosarjassa on sukupuolittunut v

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23

Haugdal, Elin. "Photographs of the Soviet Settlements on Svalbard." Nordlit, no. 45 (February 1, 2020). http://dx.doi.org/10.7557/13.5029.

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Photographic recordings from the 1950s–1970s give us glimpses into the Soviet settlements on Svalbard during the Cold War period. The majority of these pictures have been taken by Norwegians during friendly exchanges with the inhabitants in Barentsburg and Pyramiden, and demonstrate how important culture and sport were as a contact zone. These pictures also testify that the Soviets invested more seriously in their welfare, culture, education and family life on Svalbard than the Norwegians did. Photography seems to be a way of seeing, meeting and understanding others, and a way of confirming th

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Latifić, Amra. "The Kino-Eye Montage Procedure as a Formal Experiment." AM Journal of Art and Media Studies, no. 15 (April 15, 2018). http://dx.doi.org/10.25038/am.v0i15.227.

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This text presents an analysis of the relationship between Kino-Eye, the Russian montage technique that was most clearly demonstrated by Dziga Vertov in his 1929 film The Man with a Movie Camera, and Russian Formalist theory, which underwent an intensive period of development during the 1920s. Russian Formalism, established primarily as a theory of literature, was likewise applied in film and the visual arts. A dominant characteristic of Soviet film authors and theorists from the avant-garde period was a preoccupation with linguistic aspects and an understanding of film itself in terms of lang

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25

Burke, Marina. "Eisenstein and the Challenge of Sound." Kinema: A Journal for Film and Audiovisual Media, November 20, 2007. http://dx.doi.org/10.15353/kinema.vi.1152.

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EISENSTEIN AND THE CHALLENGE OF SOUND Discussion of Eisenstein's theory and practice in the use of sound from his first experiments in the late 1920s to the later refinement of his ideas on audio/visual correspondence in Alexander Nevsky (1938) and Ivan the Terrible (1944-46) have tended to sideline the former, but both are noteworthy in relation to Eisenstein's first experiments in sound and as a link with the elaboration of his later sound theory and practice is evident in Nevsky and Ivan. It is well-known that among the early proponents of sound, the Soviet directors' 'Statement' - a 'wish

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26

"Maya and Mia At La La Land." Screenworks 10, no. 1 (2019). http://dx.doi.org/10.37186/swrks/10.1/3.

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Jenny Oyallon-Koloski’s Maya and Mia At La La Land, is a videographic film which draws fascinating parallels between Maya Deren’s At Land and Damien Chazelle’s La La Land. By bringing together two such starkly disparate source materials – experimental film vs popular musical – this practice research presents a compelling exploration of what Chazelle identifies as the inherently “radical nature” of the musical. Oyallon-Koloski uses various editing techniques from continuity editing and Soviet montage, to Deren’s own parametric framework, to interweave the films and make abstract narrative conne

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Bodoni-Dombi, Tünde. "The Origins of Recycled Films." Papers in Arts and Humanities 1, no. 1 (2021). http://dx.doi.org/10.52885/pah.v1i1.21.

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At the beginning of cinema, in his early twentieth-century research the Soviet director and film theorist Sergei Eisenstein developed his theory of associative montage “1+1=3.” Nowadays, new methods have been added to this theory. These variables include the creative re-use of allusions to film history. In contemporary cinema, when a new archive film uses sequences from cinema heritage, it quotes from the past and can activate visually and content-wise complex cultural memories. In these films, the successive placement of two sequences, beyond their association, creates new associative meaning

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28

Vimenet, Pascal. "The New Gulliver: Russian Mountains and Soviet Fantasmagoria." Slovo To the East of Pixar :... (March 2, 2019). http://dx.doi.org/10.46298/slovo.2019.5244.

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International audience Новый Гулливер (1935), первый черно-белый советскиймультипликационно-игровой фильм, режиссера Александра Птушко, не былдо сих пор предметом специального исследования. Нижеследующее являетсяего контекстуальным, биографическим, равно как и кинематографическим анализом. Творческий путь Птушко (1900-1973) дается в новом освещении, особенно 1920-30 годы, на которые приходится становление его кино.Осуществив постановку Это случилось на стадионе (1928) и Властелинбыта (1932), Птушко принял руководство секцией мультипликационногофильма на студии Совкино, ставшей Москинокомбинат,

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29

Koh, Wilson. ""Gently Caress Me, I Love Chris Jericho": Pro Wrestling Fans "Marking Out"." M/C Journal 12, no. 2 (2009). http://dx.doi.org/10.5204/mcj.143.

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“A bunch of faggots for watching men hug each other in tights.”For the past five Marches, World Wrestling Entertainment (WWE) has produced an awards show which honours its aged former performers, such as Jimmy “Superfly” Snuka and Ricky “The Dragon” Steamboat, as pro-wrestling Legends. This awards show, according to WWE, is ‘an elegant, emotional, star-studded event that recognizes the in-ring achievements of the inductees and offers historical insights into this century-old sports-entertainment attraction’ (WWE.com, n.p.). In an episodic storyline leading up to the 2009 awards, however, the r

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30

Landay, Lori. "Digital Transformations." M/C Journal 4, no. 2 (2001). http://dx.doi.org/10.5204/mcj.1899.

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In the age of digital transformations of images, communications, and storytelling, Marshall McLuhan's insight that "the medium is the message" can be augmented with the corollary that the media is the mix. Digital forms of narrative are not only characterized by their mixed, hybrid forms and content, but their recombinations 1 draw the spectator into the mix in unforeseen ways. By mixing varying degrees of non-linearity and interactivity in what are ultimately animations, digital narratives create new kinds of digital spectatorship. The examples I'll explore here are three films, Conceiving Ad

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31

Dabek, Ryszard. "Jean-Luc Godard: The Cinema in Doubt." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.346.

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Photograph by Gonzalo Echeverria (2010)The Screen would light up. They would feel a thrill of satisfaction. But the colours had faded with age, the picture wobbled on the screen, the women were of another age; they would come out they would be sad. It was not the film they had dreamt of. It was not the total film each of them had inside himself, the perfect film they could have enjoyed forever and ever. The film they would have liked to make. Or, more secretly, no doubt, the film they would have liked to live. (Perec 57) Over the years that I have watched and thought about Jean-Luc Godard’s fi

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Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li

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