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Along with Sergei Eisenstein and Vsevolod Pudovkin, Alexander Dovzhenko became one of the major pioneers of Soviet filmmaking. During his thirty-year career, his films (including Zvenyhora, Arsenal, Earth, and Ivan) won international acclaim and have become influential classics of the silent and early sound eras. Combining images from Ukrainian history and folklore, stark realism, visual poetry, propaganda, and gentle humor, his films celebrated nature and man's relationship to the land. From his humble beginnings in the Ukrainian peasantry, Dovzhenko developed into a volatile artist with a great belief in cinema as an art form for the people. Fearing arrest and execution, he had to come to terms with the Stalinist order and compromised his vision for his later films (Aerograd, Shchors, and Michurin). Despite his concessions, his creative work inspired the first post-Stalinist generation of filmmakers and writers to challengeprevailing Soviet and artistic orthodoxies. Based on archival research in Moscow and Kiev and interviews with Dovzhenko's colleagues and students, George O. Liber provides the first definitive account in any language of this important director's personal and professional life. Liber's biography explores the political context of Dovzhenko's filmmaking, investigates the divisions between his public and private worlds, and analyses his contradictions, illusions, misrepresentations and struggles within and against the Stalinist system.
First Published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.
Ukrainian Cinema: Belonging and Identity during the Soviet Thaw is the first concentrated study of Ukrainian cinema in English. In particular, historian Joshua First explores the politics and aesthetics of Ukrainian Poetic Cinema during the Soviet 1960s-70s. He argues that film-makers working at the Alexander Dovzhenko Feature Film Studio in Kiev were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognize Ukrainian cultural difference. The first two chapters provide the background on how Soviet cinema since Stalin cultivated an exoticised and domesticated image of Ukrainians, along with how the film studio in Kiev attempted to rebuild its reputation during the early Sixties as a centre of the cultural thaw in the USSR. The next two chapters examine Sergei Paradjanov's highly influential Shadows of Forgotten Ancestors (1965) and its role in reorienting the Dovzhenko studio toward the auteurist (some would say elitist) agenda of Poetic Cinema. In the final three chapters, Ukrainian Cinema looks at the major works of film-makers Yurii Illienko, Leonid Osyka, and Leonid Bykov, among others, who attempted (and were compelled) to bridge the growing gap between a cinema of auteurs and concerns to generate profit for the Soviet film industry.
Gilberto Perez draws on his lifelong love of the movies as well as his work as a film scholar to write a lively, wide-ranging, penetrating study of films and filmmakers and the nature of the art form.
A director reveals the original inspirations for his films, their history, his methods of work, and the problems of visual creativity
A New History of Documentary Film, Second Edition offers a much-needed resource, considering the very rapid changes taking place within documentary media. Building upon the best-selling 2005 edition, Betsy McLane keeps the same chronological examination, factual reliability, ease of use and accessible prose style as before, while also weaving three new threads - Experimental Documentary, Visual Anthropology and Environmental/Nature Films - into the discussion. She provides emphasis on archival and preservation history, present practices, and future needs for documentaries. Along with preservation information, specific problems of copyright and fair use, as they relate to documentary, are considered. Finally, A History of Documentary Film retains and updates the recommended readings and important films and the end of each chapter from the first edition, including the bibliography and appendices. Impossible to talk learnedly about documentary film without an audio-visual component, a companion website will increase its depth of information and overall usefulness to students, teachers and film enthusiasts.
This history of documentary film concentrates mainly on the output of the film industries in the US, the UK and Canada. The authors outline the origins of the form and trace its development over the next several decades. Each chapter concludes with a list of the key documentaries in that time period or genre.
Factual and fanciful tales of the Nordic warriors known as Vikings have proven irresistible to filmmakers for nearly a century. Diverse, prominent actors from Kirk Douglas, Richard Widmark and Sidney Poitier to Tim Robbins and John Cleese, and noted directors, including Richard Fleischer, Clive Donner and Terry Jones, have all lent their talents to Viking-related films. These fourteen essays on films dealing with the Viking era discuss American, British and European productions. Analyzed in detail are such films as The Vikings (1958), The Long Ships (1964), Alfred the Great (1969), Erik the Viking (1989) and Outlander (2008), as well as two comic-strip adaptations, the 1954 and 1989 films of Prince Valiant and the animated Asterix and the Vikings (2006). A comprehensive filmography is also included.