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Released in 2002, Russian Ark drew astonished praise for its technique: shot with a Steadicam in one ninety-six-minute take, it presented a dazzling whirl of movement as it followed the Marquis de Custine as he wandered through the vast Winter Palace in St. Petersburg – and through three hundred years of Russian history. This companion to Russian Ark addresses all key aspects of the film, beginning with a comprehensive synopsis, an in-depth analysis and an account of the production history. Birgit Beumers goes on from there to discuss the work that went into the now-legendary Steadicam shot – which required two thousand actors and three orchestras – and she also offers an account of the film’s critical and public reception, showing how it helped to establish director Aleksandr Sokurov as perhaps the leading filmmaker in Russia today. A list of all books in the series is here on the Intellect website on the series page KinoSputnik
In remembrance of the 75th anniversary of the liberation of Auschwitz and the Nazi concentration camps, this award-winning, bestselling work of Holocaust fiction, inspiration for the classic film and “masterful account of the growth of the human soul” (Los Angeles Times Book Review), returns with an all-new introduction by the author. An “extraordinary” (New York Review of Books) novel based on the true story of how German war profiteer and factory director Oskar Schindler came to save more Jews from the gas chambers than any other single person during World War II. In this milestone of Holocaust literature, Thomas Keneally, author of The Book of Science and Antiquities and The Daughter of Mars, uses the actual testimony of the Schindlerjuden—Schindler’s Jews—to brilliantly portray the courage and cunning of a good man in the midst of unspeakable evil. “Astounding…in this case the truth is far more powerful than anything the imagination could invent” (Newsweek).
This volume explores the cinema of the former Soviet Union and contemporary Russia, ranging from the pre-Revolutionary period to the present day. It offers an insight into the development of Soviet film, from 'the most important of all arts' as a propaganda tool to a means of entertainment in the Stalin era, from the rise of its 'dissident' art-house cinema in the 1960s through the glasnost era with its broken taboos to recent Russian blockbusters. Films have been chosen to represent both the classics of Russian and Soviet cinema as well as those films that had a more localised success and remain to date part of Russia's cultural reference system. The volume also covers a range of national film industries of the former Soviet Union in chapters on the greatest films and directors of Ukrainian, Kazakh, Georgian and Armenian cinematography. Films discussed include Strike (1925), Earth (1930), Ivan's Childhood (1962), Mother and Son (1997) and Brother (1997).
One of the last representatives of a brand of serious, high-art cinema, Alexander Sokurov has produced a massive oeuvre exploring issues such as history, power, memory, kinship, death, the human soul, and the responsibility of the artist. Through contextualization and close readings of each of his feature fiction films (broaching many of his documentaries in the process), this volume unearths a vision of Sokurov's films as equally mournful and passionate, intellectual, and sensual, and also identifies in them a powerful, if discursively repressed, queer sensitivity, alongside a pattern of tensions and paradoxes. This book thus offers new keys to understand the lasting and ever-renewed appeal of the Russian director's Janus-like and surprisingly dynamic cinema – a deeply original and complex body of work in dialogue with the past, the present and the future.
In the tradition of Hedrick Smith's The Russians, Robert G. Kaiser's Russia: The People and the Power, and David Remnick's Lenin's Tomb comes an eloquent and eye-opening chronicle of Vladimir Putin's Russia, from this generation's leading Moscow correspondents. With the 1991 collapse of the Soviet Union, Russia launched itself on a fitful transition to Western-style democracy. But a decade later, Boris Yeltsin's handpicked successor, Vladimir Putin, a childhood hooligan turned KGB officer who rose from nowhere determined to restore the order of the Soviet past, resolved to bring an end to the revolution. Kremlin Rising goes behind the scenes of contemporary Russia to reveal the culmination of Project Putin, the secret plot to reconsolidate power in the Kremlin. During their four years as Moscow bureau chiefs for The Washington Post, Peter Baker and Susan Glasser witnessed firsthand the methodical campaign to reverse the post-Soviet revolution and transform Russia back into an authoritarian state. Their gripping narrative moves from the unlikely rise of Putin through the key moments of his tenure that re-centralized power into his hands, from his decision to take over Russia's only independent television network to the Moscow theater siege of 2002 to the "managed democracy" elections of 2003 and 2004 to the horrific slaughter of Beslan's schoolchildren in 2004, recounting a four-year period that has changed the direction of modern Russia. But the authors also go beyond the politics to draw a moving and vivid portrait of the Russian people they encountered -- both those who have prospered and those barely surviving -- and show how the political flux has shaped individual lives. Opening a window to a country on the brink, where behind the gleaming new shopping malls all things Soviet are chic again and even high school students wonder if Lenin was right after all, Kremlin Rising features the personal stories of Russians at all levels of society, including frightened army deserters, an imprisoned oil billionaire, Chechen villagers, a trendy Moscow restaurant king, a reluctant underwear salesman, and anguished AIDS patients in Siberia. With shrewd reporting and unprecedented access to Putin's insiders, Kremlin Rising offers both unsettling new revelations about Russia's leader and a compelling inside look at life in the land that he is building. As the first major book on Russia in years, it is an extraordinary contribution to our understanding of the country and promises to shape the debate about Russia, its uncertain future, and its relationship with the United States.
This documentary reveals how the unique feature-length Russian Ark was created in a single take: Alexander Sokurov's extraordinary masterpiece is a unique journey through time and Russian history. Filmed entirely in the State Hermitage Museum in St Petersburg, this groundbreaking film recreates 300 years of history in a single, unedited, feature length take. Sokurov's camera glides through 33 rooms of the Hermitage, covering three centuries of Russian history and European art. Everything unspools in one single, unbroken travelling shot, moving sinuously around the museum, roaming down corridors, nosing into chambers, peering up and down stairwells - encountering scenes from Russian history from the 17th to the early pre-Revolutionary 20th centuries: from Peter the Great to Nicholas. It is acted out by battalions of players and musicians in full costume. And all of it seamless; not a single cut or edit. Cinematographer Tilman Büttner had to carry a specially modified Steadicam capable of recording up to 100 minutes of high-definition video on to a hard disk. Russian Ark is a fluid dream-epic with no special effects. What you see is what you get. If there had been a single mistake, if someone had fallen over or if a door was jammed - or if the camera had blundered across a mirror or reflective surface - then Sokurov and his army of actors would have had to go right back to first positions. .
The author suggests that in this era following the postmodern we have entered a new, monist epoch in which aesthetically mediated belief replaces endless irony as the dominant force in culture. The book documents the "new monism" through an examination of popular films and novels such as American beauty, Life of Pi, and Middlesex as well as in the work of major architects and artists such as Sir Norman Foster, Andreas Gursky, and Vanessa Beecroft. --book cover.
Russia's interactions with the West have been a perennial theme of Slavic Studies, and of Russian culture and politics. Likewise, representations of Russia have shaped the identities of many western cultures. No longer providing the 'Evil Empire' of 20th American popular consciousness, images of Russia have more recently bifurcated along two streams: that of the impoverished refugee and that of the sinister mafia gang. Focusing on film as an engine of intercultural communication, this is the first book to explore mutual perceptions of the foreign Other in the cinema of Russia and the West during, and after, communism. The book's structure reflects both sides of this fascinating dialogue: Part 1 covers Russian/Soviet cinematic representations of otherness, and Part 2 treats western representations of Russia and the Soviet Union. An extensive Introduction sets the dialogue in a theoretical context. The contributors include leading film scholars from the USA, Europe and Russia.
Darwin in Russian Thought represents the first comprehensive and systematic study of Charles Darwin's influence on Russian thought from the early 1860s to the October Revolution. While concentrating on the role of Darwin's theory in the development of Russian science and philosophy, Vucinich also explores the dominant ideological and sociological interpretations of evolutionary thought, providing a deft analysis of the views held by the leaders of Russian nihilism, populism, anarchism, and marxism. Darwin's thinking profoundly influenced intellectual discourse in Russia: it effected the emergence of "theoretical theology," a modern effort to provide theological responses to the revolutionary changes in the natural sciences, contributed to the evolution of a modern scientific community, and spurred the rapidly growing concern with the epistemological and ethical foundations of science in general. Scholarly battles were waged among the critics of Darwin--Karl von Baer, Nikolai Iakovlevich Danilevskii and Sergei Ivanovich Korzhinskii, and others--and the defenders of the faith. Vucinich is able to delineate the distinctive national characteristics of Russian Darwinism: the strong influence of Lamarckian thought, the delayed recognition of the contributions of genetics, the near-universal rejection of Social Darwinism, the early anticipation of the triumph of "evolutionary synthesis," and the heavy concentration on the social and moral aspects of evolutionary thought. Vividly argued and rich in detail, Darwin in Russian Thought provides a unique glimpse into the Russian psyche. Darwin in Russian Thought represents the first comprehensive and systematic study of Charles Darwin's influence on Russian thought from the early 1860s to the October Revolution. While concentrating on the role of Darwin's theory in the development of Russian science and philosophy, Vucinich also explores the dominant ideological and sociological interpretations of evolutionary thought, providing a deft analysis of the views held by the leaders of Russian nihilism, populism, anarchism, and marxism. Darwin's thinking profoundly influenced intellectual discourse in Russia: it effected the emergence of "theoretical theology," a modern effort to provide theological responses to the revolutionary changes in the natural sciences, contributed to the evolution of a modern scientific community, and spurred the rapidly growing concern with the epistemological and ethical foundations of science in general. Scholarly battles were waged among the critics of Darwin--Karl von Baer, Nikolai Iakovlevich Danilevskii and Sergei Ivanovich Korzhinskii, and others--and the defenders of the faith. Vucinich is able to delineate the distinctive national characteristics of Russian Darwinism: the strong influence of Lamarckian thought, the delayed recognition of the contributions of genetics, the near-universal rejection of Social Darwinism, the early anticipation of the triumph of "evolutionary synthesis," and the heavy concentration on the social and moral aspects of evolutionary thought. Vividly argued and rich in detail, Darwin in Russian Thought provides a unique glimpse into the Russian psyche.
Released in 2002, Russian Ark drew astonished praise for its technique: shot with a Steadicam in one ninety-six-minute take, it presented a dazzling whirl of movement as it followed the Marquis de Custine as he wandered through the vast Winter Palace in St. Petersburg--and through three hundred years of Russian history. This companion to Russian Ark addresses all key aspects of the film, beginning with a comprehensive synopsis, an in-depth analysis, and an account of the production history. Birgit Beumers goes on from there to discuss the work that went into the now-legendary Steadicam shot--which required two thousand actors and three orchestras--and she also offers an account of the film's critical and public reception, showing how it helped to establish director Aleksandr Sokurov as perhaps the leading filmmaker in Russia today.