Pub Date : 2023-01-02DOI: 10.1080/17503132.2023.2163963
Laura Todd
ABSTRACT This article examines the evolution of ‘films for children and youth’ from the early 1970s to 2021. The genre-category was one of the most significant in the Soviet Union, serving a political, social and artistic function as a mediator of Soviet values and norms for the youngest generation. For most of its history, critical literature has focused on the films ‘for children’ rather than youth – a more fluid category. Since the 1970s, the intrinsic tension within the genre-category led to a crisis within, with film workers and other interested parties showing concern that teenagers were not sufficiently represented on film. This tension was fed by wider societal concerns about the growing gap between the younger and older generations in the Stagnation period. Whilst youth became a key discussion point during Perestroika, the concern over how to target and guide youth audiences had started earlier. The communication gap between old and young remained unresolved through to the post-Soviet period, when the arrival of ‘priority themes’ for national film funding suggests a continued effort to differentiate between children and youth in order to shape consciousness. However, this process also reveals the lingering presence of Soviet film norms in the post-Soviet period.
{"title":"Youth as a ‘priority theme’: Socio-political impetus and the evolution of films for youth in Russia and the Soviet Union","authors":"Laura Todd","doi":"10.1080/17503132.2023.2163963","DOIUrl":"https://doi.org/10.1080/17503132.2023.2163963","url":null,"abstract":"ABSTRACT This article examines the evolution of ‘films for children and youth’ from the early 1970s to 2021. The genre-category was one of the most significant in the Soviet Union, serving a political, social and artistic function as a mediator of Soviet values and norms for the youngest generation. For most of its history, critical literature has focused on the films ‘for children’ rather than youth – a more fluid category. Since the 1970s, the intrinsic tension within the genre-category led to a crisis within, with film workers and other interested parties showing concern that teenagers were not sufficiently represented on film. This tension was fed by wider societal concerns about the growing gap between the younger and older generations in the Stagnation period. Whilst youth became a key discussion point during Perestroika, the concern over how to target and guide youth audiences had started earlier. The communication gap between old and young remained unresolved through to the post-Soviet period, when the arrival of ‘priority themes’ for national film funding suggests a continued effort to differentiate between children and youth in order to shape consciousness. However, this process also reveals the lingering presence of Soviet film norms in the post-Soviet period.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45458918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17503132.2023.2163959
Jenny Kaminer
ABSTRACT This introduction outlines the scope of the cluster presented in this issue (17.1) of Studies in Russian and Soviet Cinema on the representation of youth on late-Soviet and Russian screens. It connects the arguments made in the three contributions by Irina Souch, Vadim Mikhailin, and Galina Belyaeva; by Laura Todd; and by Emily Schuckman Matthews, concerning the emergence on screen of the young hero from the 1960s as a representative of sincerity, who contrasts with the older generation; the growing non-conformism and aggression of the younger generation in the late 1970s and 1980s; and the erupting violence in late-Soviet and post-Soviet cinema.
{"title":"Screening Russian youth: An introduction","authors":"Jenny Kaminer","doi":"10.1080/17503132.2023.2163959","DOIUrl":"https://doi.org/10.1080/17503132.2023.2163959","url":null,"abstract":"ABSTRACT This introduction outlines the scope of the cluster presented in this issue (17.1) of Studies in Russian and Soviet Cinema on the representation of youth on late-Soviet and Russian screens. It connects the arguments made in the three contributions by Irina Souch, Vadim Mikhailin, and Galina Belyaeva; by Laura Todd; and by Emily Schuckman Matthews, concerning the emergence on screen of the young hero from the 1960s as a representative of sincerity, who contrasts with the older generation; the growing non-conformism and aggression of the younger generation in the late 1970s and 1980s; and the erupting violence in late-Soviet and post-Soviet cinema.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43629752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/17503132.2022.2131211
M. Kazyuchits, Nina Sputnitskaia
ABSTRACT This article forms the introduction to the publication of the script Antarctica, faraway country. The script was written by Andrei Tarkovsky and Andrei (Mikhalkov)-Konchalovsky during their student days and completed in the early 1960s; however, the script was never realised and belongs to the category of ‘unrealised scripts’. The article traces the origins of the idea for the script and places them in the context of Soviet cinema of the Thaw, before investigating the transformation that the script underwent in the 1960s, when both filmmakers and scriptwriters had already established their reputation with their debut films. These changes are highlighted through an analysis of a key scene, before the article demonstrates in detail how the changes to the script versions of 1960 and 1966 reflect a shift in Tarkovsky’s vision of man in the universe, and specifically his relation to nature, whilst pointing towards similar concerns in Tarkovsky’s later films.
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Pub Date : 2022-09-02DOI: 10.1080/17503132.2022.2115048
Anne Eakin Moss
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Pub Date : 2022-09-02DOI: 10.1080/17503132.2022.2131214
B. Beumers
The third issue of Studies in Russian & Soviet Cinema for 2022 presents three articles and a discovery. Let us turn to the contributions: first, we have an article by Olga Davydenko, who was one of the winners of the 2021 competition of best student articles at St Petersburg State University for Film and Television, which – in the hibernation period of the pandemic, we organised for the second time with the wonderful Polina Stepanova, because we wanted our students to have a little bit of a challenge in these dull days of lockdowns. The article offers a fine investigation of the acting ‘mask’ of the actor Igor’ Il’inski, whose work is here explored in the films of the silent era. Second, there is an article on the scenarios of Aleksandr Rzheshevskii, who scripted, among other films, Sergei Eisenstein’s Bezhin Meadow. Sergei Ogudev brilliantly analyses Rzheshevskii’s scripts within the context of narrative theories. The third article in this issue comes with a discovery, of Andrei Tarkovsky’s and Andrei Konchalovsky’s script for their unrealised project Antarctica, Faraway Country, finalised in 1966. Parts of an earlier version of the script (from the late 1950s) are known, but the scholars Nina Sputnitskaia and Maksim Kazyutchis have accomplished something else here, namely the reconstruction of the working process from the first version to the final script, which is published as an appendix to their article. In their discussion, they draw out the origins in this script of later characteristic features of Tarkovsky’s oeuvre. As usual, we have a selection of book reviews, prepared and presented by Stephen M. Norris, to whom I express my gratitude. And – as always, Studies in Russian & Soviet Cinema encourages submissions on any aspect of pre-Revolutionary, Soviet-era and post-Soviet cinema and visual culture, including the former Soviet territories. We operate a system of double-blind peer-review; submissions should be original (i.e. previously unpublished, including publications in another language) and will be considered at any time throughout the year. They should be sent to the editor at birgit.beumers@gmail.com.
{"title":"Editorial","authors":"B. Beumers","doi":"10.1080/17503132.2022.2131214","DOIUrl":"https://doi.org/10.1080/17503132.2022.2131214","url":null,"abstract":"The third issue of Studies in Russian & Soviet Cinema for 2022 presents three articles and a discovery. Let us turn to the contributions: first, we have an article by Olga Davydenko, who was one of the winners of the 2021 competition of best student articles at St Petersburg State University for Film and Television, which – in the hibernation period of the pandemic, we organised for the second time with the wonderful Polina Stepanova, because we wanted our students to have a little bit of a challenge in these dull days of lockdowns. The article offers a fine investigation of the acting ‘mask’ of the actor Igor’ Il’inski, whose work is here explored in the films of the silent era. Second, there is an article on the scenarios of Aleksandr Rzheshevskii, who scripted, among other films, Sergei Eisenstein’s Bezhin Meadow. Sergei Ogudev brilliantly analyses Rzheshevskii’s scripts within the context of narrative theories. The third article in this issue comes with a discovery, of Andrei Tarkovsky’s and Andrei Konchalovsky’s script for their unrealised project Antarctica, Faraway Country, finalised in 1966. Parts of an earlier version of the script (from the late 1950s) are known, but the scholars Nina Sputnitskaia and Maksim Kazyutchis have accomplished something else here, namely the reconstruction of the working process from the first version to the final script, which is published as an appendix to their article. In their discussion, they draw out the origins in this script of later characteristic features of Tarkovsky’s oeuvre. As usual, we have a selection of book reviews, prepared and presented by Stephen M. Norris, to whom I express my gratitude. And – as always, Studies in Russian & Soviet Cinema encourages submissions on any aspect of pre-Revolutionary, Soviet-era and post-Soviet cinema and visual culture, including the former Soviet territories. We operate a system of double-blind peer-review; submissions should be original (i.e. previously unpublished, including publications in another language) and will be considered at any time throughout the year. They should be sent to the editor at birgit.beumers@gmail.com.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45825537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-30DOI: 10.1080/17503132.2022.2115203
Sergei Ogudov
ABSTRACT This article is devoted to the study of the film scripts by Aleksandr G. Rzheshevskii (1903–1967). In contrast to the concept of the ‘emotional scenario’, which emphasises the textual structure, this article suggests a reading of his scripts in connection with the problems of an oral narrative of personal experience. Such an approach allows us to consider important creative principles for Rzheshevskii’s work, in particular the link between the film script with biographical experience and orality, both at the level of composition and in the course of the presentation of the text. As compositional markers of oral speech, the article analyses elements of poetic syntax, indefinite pronouns, onomatopoeias, blasphemy and abusive terms, which are the result of storytelling about the events of the Civil War and its consequences.
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Pub Date : 2022-08-18DOI: 10.1080/17503132.2022.2111859
O. Davydenko
ABSTRACT Igor’ Il’inskii (1901–1987) was a celebrated Soviet comic actor, whose work in silent-era cinema has often been underestimated. Even in defining the specific features of his character acting and his screen mask/s, no single view has been formulated among film scholars. This article aims to reveal the main principles of Il’inskii’s acting in Soviet films of the silent period in order to define the relationship between his screen image and masks. To this end, I first explore the perspective of scholars who have written about Il’inskii as well as biographical details of his creative life; moreover, I analyse the character design in the films in which he appeared from 1924 to 1930. The article reveals the particularities of his screen existence and formulates them in the style of an actor’s portrait; the features of Il’inskii’s acting and the affect that it generated emerge in this process. In addition, the article proposes an explanation for the missing consensus in defining Il’inskii’s character acting and screen image through a study of the complexity and inconsistency of character acting and ‘naturalness’ in Il’inskii’s anthropology. Finally, the concept of a childlike playfulness is suggested to describe his mask.
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Pub Date : 2022-08-17DOI: 10.1080/17503132.2022.2110737
Claire J. Knight
cognitive aesthetics’ (xiii). This shift has probably gone too far; as a result, the book is based on secondary sources. In the bibliography, one finds very few books and articles published in the 1890s to 1910s – and not a single reference to an archival paper collection. Lack of interest in the history of the texts analysed here inevitably leads to certain inaccuracies. When discussing The Twilight of a Woman’s Soul, Kostetskaya points out: ‘It is not by chance that the BFI (British Film Institute) distribution department which converted Bauer’s print into a video master in the 1990s decided to add, electronically, a blue filter to the dream scenes. This change of colour reinforces the heroes’ fluid transition, or immersion, into the world of dreams, hence, into the ocean of unrestricted emotionality’ (98). In silent cinema, blue tinting was widely used for night scenes regardless of their emotional mood. If colleagues from the BFI wished to accent the mysterious or transcendental contents of the scene, as Kostetskaya suggests, they would most likely imitate green tinting. The detailed analysis of the three Symbolist films leaves an ambiguous impression. On the one hand, the idea to use ‘liquescence’ as a magic key that easily opens every film by Bauer does not seem justified. When Kostetskaya argues that Zoya Kadmina in After Death looks like a pearl from the shell while ‘the drapes cover deeper, hence mysterious space, which also could be equated to underwater regions due to the mystery it signifies’ (104), many readers might doubt this interpretation. On the other hand, some of her observations are accurate and engaging. For instance, Kostetskaya gives an interesting overview of Elena, the heroine of Daydreams: she compares her with Ophelia and the image of a mermaid (Rusalka). Regardless of whether one agrees with Kostetskaya’s approach or not, her book will interest scholars who work on Symbolist literature, cinema and art.
{"title":"Feeling Revolution: Cinema, Genre, and the Politics of Affect Under Stalin","authors":"Claire J. Knight","doi":"10.1080/17503132.2022.2110737","DOIUrl":"https://doi.org/10.1080/17503132.2022.2110737","url":null,"abstract":"cognitive aesthetics’ (xiii). This shift has probably gone too far; as a result, the book is based on secondary sources. In the bibliography, one finds very few books and articles published in the 1890s to 1910s – and not a single reference to an archival paper collection. Lack of interest in the history of the texts analysed here inevitably leads to certain inaccuracies. When discussing The Twilight of a Woman’s Soul, Kostetskaya points out: ‘It is not by chance that the BFI (British Film Institute) distribution department which converted Bauer’s print into a video master in the 1990s decided to add, electronically, a blue filter to the dream scenes. This change of colour reinforces the heroes’ fluid transition, or immersion, into the world of dreams, hence, into the ocean of unrestricted emotionality’ (98). In silent cinema, blue tinting was widely used for night scenes regardless of their emotional mood. If colleagues from the BFI wished to accent the mysterious or transcendental contents of the scene, as Kostetskaya suggests, they would most likely imitate green tinting. The detailed analysis of the three Symbolist films leaves an ambiguous impression. On the one hand, the idea to use ‘liquescence’ as a magic key that easily opens every film by Bauer does not seem justified. When Kostetskaya argues that Zoya Kadmina in After Death looks like a pearl from the shell while ‘the drapes cover deeper, hence mysterious space, which also could be equated to underwater regions due to the mystery it signifies’ (104), many readers might doubt this interpretation. On the other hand, some of her observations are accurate and engaging. For instance, Kostetskaya gives an interesting overview of Elena, the heroine of Daydreams: she compares her with Ophelia and the image of a mermaid (Rusalka). Regardless of whether one agrees with Kostetskaya’s approach or not, her book will interest scholars who work on Symbolist literature, cinema and art.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44688402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-16DOI: 10.1080/17503132.2022.2110736
A. Kovalová
{"title":"Russian Symbolism in Search of Transcendental Liquescence: Iconizing Emotion by Blending Time, Media, and the Senses","authors":"A. Kovalová","doi":"10.1080/17503132.2022.2110736","DOIUrl":"https://doi.org/10.1080/17503132.2022.2110736","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41462017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/17503132.2022.2072998
B. Beumers
At Studies in Russian and Soviet Cinema, we condemn the Russian invasion of Ukraine and the suffering it brings to the people of Ukraine. As an academic journal, we consider scholarship an important domain for critical reflection and intellectual exchange. We wish to distinguish between the regime and individual scholars, who often vociferously and at significant risk continue to articulate their dissent from the system. As a scholarly journal devoted to cinema of the former post-Soviet space, we publish scholarship independent of authors’ citizenship and cover the cinematic histories and cultures of the entire postSoviet space: a clear and lucid analysis is the best way to understand cultural strategies, including the use of cinema as a form of soft power. In the second issue for 2022, Studies in Russian & Soviet Cinema presents four articles, which cover a range of aspects of Soviet cinema and its history. In chronological order, we start with an article by Patrícia Silveirinha Castello Branco, who considers the haptic visuality in Eisenstein’s film theory between revolutionary and bourgeois thought, between tradition and the avant-garde, between mechanical and artisanal. Her contribution is followed by two articles about Thaw-era cinema: Olia Kim studies the concept of ‘poetic cinema’ in Soviet and post-Soviet critical discourse; and Maria Mayofis traces the genealogy of the intelligentsia through two Thaw-era films. Finally, Aleksandra Shubina’s quirky analysis of the science-fiction character Alisa Seleznёva concludes the article section. We have a small number of book reviews (which now feature in each issue rather than being clustered in the final issue each year), prepared by Stephen M. Norris, to whom I express my gratitude. As always, Studies in Russian & Soviet Cinema encourages submissions on any aspect of Soviet, post-Soviet and Russian cinema and visual culture, including the post-Soviet space. We operate a system of double-blind peer-review; submissions should be original (i.e., previously unpublished, including publications in another language) and will be considered at any time throughout the year. They should be sent to the editor at birgit.beumers@gmail.com.
在俄罗斯和苏联电影研究中，我们谴责俄罗斯入侵乌克兰及其给乌克兰人民带来的痛苦。作为一份学术期刊，我们认为学术是批判性反思和知识交流的重要领域。我们希望区分政权和个别学者，这些学者经常大声疾呼，冒着巨大的风险继续表达他们对体制的异议。作为一份致力于前苏联后空间电影的学术期刊，我们出版独立于作者国籍的学术成果，涵盖整个后苏联空间的电影历史和文化:清晰明了的分析是理解文化策略的最佳方式，包括将电影作为一种软实力形式的使用。在2022年的第二期，《俄罗斯和苏联电影研究》将发表四篇文章，涵盖苏联电影及其历史的各个方面。按照时间顺序，我们从Patrícia Silveirinha Castello Branco的一篇文章开始，他认为爱森斯坦电影理论中的触觉视觉性介于革命与资产阶级思想之间，传统与前卫之间，机械与手工之间。在她的贡献之后，她又发表了两篇关于陶时代电影的文章:奥利亚·金研究了苏联和后苏联批评话语中的“诗意电影”概念;玛丽亚·梅奥菲斯(Maria Mayofis)通过两部解冻时期的电影追溯了知识分子的谱系。最后，Aleksandra Shubina对科幻小说人物Alisa Seleznёva的古怪分析结束了文章部分。我们有少量书评(现在每期都有，而不是每年最后一期)，作者是斯蒂芬·m·诺里斯(Stephen M. Norris)，我对他表示感谢。一如既往，《俄罗斯和苏联电影研究》鼓励提交关于苏联、后苏联和俄罗斯电影和视觉文化的任何方面的作品，包括后苏联空间。我们实行双盲同行评审制度;提交的作品必须是原创的(即以前未发表的，包括其他语言的出版物)，并将在全年的任何时间进行审议。请将稿件发送至birgit.beumers@gmail.com。
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