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This book is a pathbreaking study of the 'unknown' Soviet cinema: the popular movies which were central to Soviet film production in the 1920s. Professor Youngblood discusses acting genres, the cinema stars, audiences, and the influences of foreign films and examines three leading filmmakers - Iakov Protazanov, Boris Barnet, and Fridikh Ermler. She also looks at the governmental and industrial circumstances underlying filmmaking practices of the era, and provides an invaluable survey of the contemporary debates concerning official policy on entertainment cinema. Professor Youngblood demonstrates that the film culture of the 1920s was predominantly and aggressively 'bourgeois' and enjoyed patronage that cut across class lines and political allegiance. Thus, she argues, the extent to which Western and pre-revolutionary influences, boureois directors and middle-class tastes dominated the film world is as important as the tradition of revolutionary utopianism in understanding the transformation of Soviet culture in the Stalin revolution.
On how American identity is shaped by motion pictures
The movies and the masses erupted on the world stage together. In a few decades around the turn of the twentieth century, millions of persons who rarely could afford a night at the theater and had never voted in an election became regular paying customers at movie palaces and proud members of new political parties. The question of how to represent these new masses fascinated and plagued politicians and filmmakers alike. Michael Tratner examines the representations of masses--the crowd scenes--in Hollywood films from The Birth of a Nation through such popular love stories as Gone with the Wind, The Sound of Music, and Dr. Zhivago. He then contrasts these with similar scenes in early Soviet and Nazi films. What emerges is a political debate being carried out in filmic style. In both sets of films, the crowd is represented as a seething cauldron of emotions.
A Companion to Russian Cinema provides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies. The most up-to-date and thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglected
DIVUses the under-studied genre of melodrama as a critical prism for understanding Russian/Soviet history, politics and culture--in particular, the uses to which popular culture was put in the Soviet period./div
Essay from the year 2011 in the subject Didactics for the subject English - Discussion and Essays, Jawaharlal Nehru University , course: M.A., language: English, abstract: Masses formed a perpetual threat to culture. Mass thinking/ prejudice/ suggestion would threaten to swamp individual thinking and feeling. Mass democracy was seen as majority rule of the mob or mob-rule which was harmful for a society or government. We think masses denote the working classes - therefore the problem with the masses are not the lowness and gullibility but the power to alter society and to change the capitalist economy - and this is why masses are abhorred by rulers and the makers of law and society. The leaders of the capitalist economy will do everything to prevent a Revolution and the working classes do not want their conscience to be awakened but most importantly nobody wants to acknowledge that true power does lie with the people
In Devastation and Laughter, Annie G?rin explores the use of satire in the visual arts, the circus, theatre, and cinema under Lenin and Stalin. G?rin traces the rise and decline of the genre and argues that the use of satire in official Soviet art and propaganda was neither marginal nor un-theorized. The author sheds light on the theoretical texts written in the 1920s and 1930s by Anatoly Lunacharsky, the Soviet Commissar of Enlightenment, and the impact his writings had on satirists. While the Avant-Garde and Socialist Realism were necessarily forward-looking and utopian, satire afforded artists the means to examine critically past and present subjects, themes, and practice. Devastation and Laughter is the first work to bring Soviet theoretical writings on the use of satire to the attention of scholars outside of Russia. By introducing important bodies of work that have largely been overlooked in the fields of art history, film and theatre history, Annie G?rin provides a nuanced and alternative reading of early Soviet art.
This book takes a cultural studies approach to analyze and account for the ways in which related to film, literature, cultural production, ideology, social change and modernity were in raised in the leftwing film movement of the 1930s.
Although best known as the wife of C. S. Lewis, Joy Davidman was an accomplished writer in her own right, with several published works to her credit. Out of My Bone tells Davidman s life story in her own words through her numerous letters most never published before and her autobiographical essay "The Longest Way Round." / Gathered and expertly introduced by Don W. King, these letters reveal Davidman's persistent search for truth, her curious, incisive mind, and her arresting, sharply penetrating voice. They chronicle her religious, philosophical, and intellectual journey from secular Judaism to atheism to Communism to Christianity. Her personal engagement with large issues offers key insights into the historical milieu of America in the 1930s and 1940s. Davidman also writes about the struggles of her earlier marriage to William Lindsay Gresham and of trying to reconcile her career goals with her life as mother of two sons. Most poignantly, perhaps, these letters expose Davidman s mental, emotional, and spiritual state as she confronted the cancer that eventually took her life in 1960 at age 45. / Moving and riveting, Out of My Bone reveals anew the singular woman whom Lewis deeply loved and who influenced his later writings, especially Till We Have Faces.