Academic literature on the topic 'Viktor Tsoi'

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Journal articles on the topic "Viktor Tsoi"

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Kharitonova, Zinaida Grigor'evna. "THE STORY “ROMANCE” BY VIKTOR TSOI AS AN ATTEMPT OF LITERARY SELF-REFLECTION." Philological Sciences. Issues of Theory and Practice, no. 4-2 (April 2018): 293–97. http://dx.doi.org/10.30853/filnauki.2018-4-2.18.

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Österberg, Ira. "Musiikki ja kerronnan tasot Kirill Serebrennikovin elokuvassa Kesä." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, no. 2 (July 1, 2019): 8–26. http://dx.doi.org/10.23994/lk.83447.

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Venäläisen ohjaajan Kirill Serebrennikovin elokuva Kesä (Leto, Venäjä 2018) on tositapahtumiin perustuva, mutta silti voimakkaan fiktiivinen kuvaus Neuvostoliiton underground-rockin noususta valtavirtaan 1980-luvun alkupuolella, päähenkilöinä kaksi neuvostorockin tosielämän suurnimeä Majk Naumenko (1955–1991) ja Viktor Tsoi (1962–1990). Elokuvassa kuullaan luonnollisesti paljon musiikkia: venäläisiä ja länsimaisia 1980-luvun alun rock-hittejä sekä alkuperäisinä että uusina tulkintoina, mutta myös elokuvaa varten sävellettyä originaalimusiikkia. Kesä voitti parhaan soundtrackin palkinnon Cannesissa 2018, mutta sai Venäjällä ristiriitaisen vastaanoton.Artikkelissa keskitytään tarkastelemaan Kesän musiikinkäyttöä formalistisen lähiluvun ja rakenneanalyysin keinoin. Tarkastelun keskiössä on erityisesti elokuvamusiikin narratologia ja Claudia Gorbmanin (1987), Rick Altmanin (1987) ja Guido Heldtin (2013) määritelmät diegeettisyydestä, ei-diegeettisyydestä, supradiegeettisyydestä sekä ekstrafiktiivisyydestä. Tutkimuskysymyksenä on se, miten Kesä-elokuva käyttää neuvostoajan rockia elokuvamusiikkina ja miten tämä musiikinkäyttö ankkuroituu neuvostoelokuvien rock-musiikkikonventioihin.Kesän musiikkistrategiassa muodostuu selkeä vastakkainasettelu kotimaisen ja ulkomaisen, elävän ja nauhoitetun, sekä alkuperäisen ja uudelleentulkitun musiikin välille. Eri musiikkityylien ja kerronnan tasojen välille muodostuu elokuvassa tietynlainen säännönmukaisuus ja tehtävänjako. Se miltä kerronnan tasolta musiikin katsotaan milloinkin tulevan vaikuttaa vahvasti siihen, miten realistisena minkäkin kohtauksen voi lukea, ja tämä puolestaan sitoo elokuvan eri genreperinteisiin: realistisempi, diegeettinen musiikkiesitys ankkuroi elokuvan elämäkertaelokuvien genreen, kun taas täysin epärealistiset, supradiegeettiset musiikkiesitykset viittaavat enemmän musikaaliperinteeseen. Music and Levels of Narration in Kirill Serebrennikov’s film LetoRussian director Kirill Serebrennikov’s Leto is a film about the rise of the underground rock scene into the mainstream in early 1980s Soviet Union. The film is based on a true story and the lives of two rock legends Majk Naumenko (1955–1991) and Viktor Tsoi (1962–1990), even though it also contains plenty of highly fictitious elements. The music track features Russian and Western rock songs of the era both as original performances as well as cover versions, additionally there are also excerpts of original score. Leto won the best soundtrack award in Cannes in 2018, but it received mixed reviews in Russia.This article analyses the use of music in Leto through formalist close reading and structural analysis. The analysis relies heavily on film music narratology and in particular on Claudia Gorbman’s (1987), Rick Altman’s (1987), and Guido Heldt’s (2013) definitions of diegeticity, non-diegeticity, supradiegeticity, and extrafictivity. The research question concerns how is Soviet era rock used as film music in Leto, and how does this use relate to the rock music conventions in Soviet cinema.In the musical strategy of Leto, there arises a juxtaposition between domestic and foreign music, as well as live and recorded, and original and re-interpreted music. Furthermore, there is a structure and logic in the way the different types of music relate to the levels of narration throughout the film. The narrative level that the music is anchored to has an effect on the interpretation of individual scenes and events as realistic or unrealistic. This also anchors the film in different film genres or traditions: a more realistic, diegetic music performance is connected with traditional biopic dramas, whereas the unrealistic, supradiegetic musical performances are more closely connected with the tradition of Hollywood musicals.
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Dissertations / Theses on the topic "Viktor Tsoi"

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"Nationalism and Its Discontents: Transformations of Identity in Contemporary Russian Music on and off the Web." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.62826.

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abstract: This dissertation presents a multifaceted examination of the complex sociopolitical contexts of contemporary popular and classical music in Russia. By attending to the competing expectations of Russian creators, government officials, impresarios, critics, and listeners, it examines how contemporary musical artists have navigated the shifting nationalistic and popular moods of the past two decades. I argue that popular music artists Olga Kormukhina and Polina Gagarina, composer Rodion Shchedrin, and the Mariinsky Theater have transformed the works of past artists, including Viktor Tsoi and Nikolai Leskov, updating them according to a popular demand for patriotic works that the Russian state has cultivated through its media outlets and official pronouncements on cultural policy. Other rock musicians (Konstantin Kinchev and the band Bi-2) have also transformed their political identities to match the present-day demands and expectations of either Russian officialdom or their particular Russian audiences. With the exception of Bi-2 (an ambiguous counterexample), all of these transformations have led to greater associations with nationalistic sentiments or fervent support for state agendas in the contemporary geopolitical arena. Exploring the wide variety of styles and genres in this dissertation required a methodological versatility involving archival research, reception history, the analysis of musical scores and sound recordings, an examination of prose and poetic texts, and close study of visual imagery in music videos and onstage. The approach to reception history is the most groundbreaking, for it considers a wide range of digital sources, including blogs and social media comment threads, and makes use of language partner apps to augment the pool of informants, allowing conversation with Russians living outside the limited geographical range (St. Petersburg and Moscow) considered by previous studies. This holistic approach to contemporary reception history helps us to better understand how Russian audiences from diverse regions perceive these ongoing transformations.
Dissertation/Thesis
Doctoral Dissertation Music 2020
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Books on the topic "Viktor Tsoi"

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Poety russkogo roka: Viktor Tsoi, Mikhail Naumenko, Andrei Panov, Evgenii Fedorov, Fedor Chistiakov, Mikhail Bashakov. Azbuka (SPb.), 2004.

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Viktor Tsoy i gruppa "Kino": Illyustrirovannaya istoriya zhizni i tvorchestva. 2005.

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