Pub Date : 2022-01-02DOI: 10.1080/17503132.2021.2024421
A. Anemone
ABSTRACT Mikhail Kalatozov, the first and only director to win a Golden Palm in Cannes for The Cranes are Flying in 1957, started his career as a filmmaker in Georgia. However, Salt for Svaneti, believed to have been his first film, was not at all the director’s debut: rather, he had already made a number of films, most of which have not survived. This is also the case for The Blind Girl. In 2010, Sergei Tret’iakov’s script for this film was discovered in the archive of the theatre critic Aleksandr Fevral’skii and published in Russian. The present publication, which consists of an introduction and the publication of the script, first traces the origins of the script and contextualises it, before offering a first English translation by Albert Newberry. The Blind Girl sheds light on an obscure episode in the biographies of both Kalatozov and Tret’iakov, addressing the challenges of overcoming the accumulated effects of centuries of underdevelopment and backwardness in the lives of the multinational population of Soviet Russia. This, however, made the film ripe for censorship by the time of its completion.
{"title":"Sergei Tret’iakov, Mikhail Kalatozov and The Blind Girl Sergei Tret’iakov: The Blind Girl. A Script. Translated by Albert Newberry","authors":"A. Anemone","doi":"10.1080/17503132.2021.2024421","DOIUrl":"https://doi.org/10.1080/17503132.2021.2024421","url":null,"abstract":"ABSTRACT Mikhail Kalatozov, the first and only director to win a Golden Palm in Cannes for The Cranes are Flying in 1957, started his career as a filmmaker in Georgia. However, Salt for Svaneti, believed to have been his first film, was not at all the director’s debut: rather, he had already made a number of films, most of which have not survived. This is also the case for The Blind Girl. In 2010, Sergei Tret’iakov’s script for this film was discovered in the archive of the theatre critic Aleksandr Fevral’skii and published in Russian. The present publication, which consists of an introduction and the publication of the script, first traces the origins of the script and contextualises it, before offering a first English translation by Albert Newberry. The Blind Girl sheds light on an obscure episode in the biographies of both Kalatozov and Tret’iakov, addressing the challenges of overcoming the accumulated effects of centuries of underdevelopment and backwardness in the lives of the multinational population of Soviet Russia. This, however, made the film ripe for censorship by the time of its completion.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"16 1","pages":"2 - 24"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46051697","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 : 2022-01-02DOI: 10.1080/17503132.2021.2024039
Jamile Satybaldiyeva
ABSTRACT The article explores the transformation of images of daughters-in-law in Central Asian cinema of the Soviet and post-Soviet era. The images of daughters-in-law (kelin) are laden with cultural, social and political meanings that reveal various aspects of identity and gender politics and state ideology in the Central Asian states. The kelins are seen as important symbols of the continuation of patriarchal traditions, yet they also belong to societies where debates on gender roles are becoming increasingly more pronounced. The representations of the daughter-in-law in Central Asian film, thus, has become a contested site showcasing various ideological perspectives, from discourses of female re-traditionalisation to their critique and debate.
{"title":"The transformation of ‘divisive’ daughters-in-law in Central Asian cinema","authors":"Jamile Satybaldiyeva","doi":"10.1080/17503132.2021.2024039","DOIUrl":"https://doi.org/10.1080/17503132.2021.2024039","url":null,"abstract":"ABSTRACT The article explores the transformation of images of daughters-in-law in Central Asian cinema of the Soviet and post-Soviet era. The images of daughters-in-law (kelin) are laden with cultural, social and political meanings that reveal various aspects of identity and gender politics and state ideology in the Central Asian states. The kelins are seen as important symbols of the continuation of patriarchal traditions, yet they also belong to societies where debates on gender roles are becoming increasingly more pronounced. The representations of the daughter-in-law in Central Asian film, thus, has become a contested site showcasing various ideological perspectives, from discourses of female re-traditionalisation to their critique and debate.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"16 1","pages":"44 - 60"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45706507","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 : 2022-01-02DOI: 10.1080/17503132.2022.2028257
S. Abishev, E. Lumpov, Inna Smailova
ABSTRACT This article explores the phenomenon of Partisan Cinema in Kazakhstan in the 2010s in a historical and social context. It explains the funding situation in Kazakhstani film production in order to contextualise the rise of an independent cinema, and places the emergence of socially engaged cinema in the context of early Kazakh experiences with film in the 1930s and the Kazakh New Wave of the late Soviet era. The key films of the movement are analysed, including Adilkhan Yerzhanov’s Constructors and The Owners, as well as Zhosulan Poshanov’s Toll Bar. The absurdism in Yerzhanov’s The Plague at the Karatas Village is singled out and shown as a typical feature of Partisan cinema as it engages with the impossibility of social change, both thematically and stylistically. The framework for this socially engaged cinema is connected to the social realism of the 1950s and 1960s as manifest in the British group of the Angry Young Men. This connection, as well as the principle of Partisan Cinema, are set out in the group’s Manifesto of 2014, appended to this article.
{"title":"The phenomenon of Partisan Cinema: alternative film production in Kazakhstan (Appendix: A Manifesto)","authors":"S. Abishev, E. Lumpov, Inna Smailova","doi":"10.1080/17503132.2022.2028257","DOIUrl":"https://doi.org/10.1080/17503132.2022.2028257","url":null,"abstract":"ABSTRACT This article explores the phenomenon of Partisan Cinema in Kazakhstan in the 2010s in a historical and social context. It explains the funding situation in Kazakhstani film production in order to contextualise the rise of an independent cinema, and places the emergence of socially engaged cinema in the context of early Kazakh experiences with film in the 1930s and the Kazakh New Wave of the late Soviet era. The key films of the movement are analysed, including Adilkhan Yerzhanov’s Constructors and The Owners, as well as Zhosulan Poshanov’s Toll Bar. The absurdism in Yerzhanov’s The Plague at the Karatas Village is singled out and shown as a typical feature of Partisan cinema as it engages with the impossibility of social change, both thematically and stylistically. The framework for this socially engaged cinema is connected to the social realism of the 1950s and 1960s as manifest in the British group of the Angry Young Men. This connection, as well as the principle of Partisan Cinema, are set out in the group’s Manifesto of 2014, appended to this article.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"16 1","pages":"61 - 78"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46068890","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 : 2022-01-02DOI: 10.1080/17503132.2022.2031762
A. Toropova
{"title":"Psychomotor aesthetics: movement and affect in modern literature and film","authors":"A. Toropova","doi":"10.1080/17503132.2022.2031762","DOIUrl":"https://doi.org/10.1080/17503132.2022.2031762","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"16 1","pages":"84 - 85"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45162652","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 : 2022-01-02DOI: 10.1080/17503132.2022.2026153
J. Henry
{"title":"Soviet films of the 1970s and early 1980s: conformity and non-conformity amidst stagnation decay","authors":"J. Henry","doi":"10.1080/17503132.2022.2026153","DOIUrl":"https://doi.org/10.1080/17503132.2022.2026153","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"16 1","pages":"79 - 80"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45490476","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 : 2022-01-02DOI: 10.1080/17503132.2022.2026160
Jenny Kaminer
ABSTRACT This article focuses on two recent Russian films – Vasilii Sigarev’s Living (2012) and Natasha Merkulova and Aleksei Chupov’s The Man who Surprised Everyone (2018) – that exploit the multivalent potential of the pregnant body. Both films enlist the symbolism with which Russian traditional culture has infused that body to create complex, nuanced cinematic depictions of the porousness between the realm of the living and that of the dead. The folk symbolism of pregnancy facilitates the directors’ subtle critiques of contemporary Russian society, including its cynicism; casual, ubiquitous violence; and rigid gender hierarchies. These films highlight the pregnant woman’s destabilising potential, one that challenges the Russian state’s increasingly fervent incursion into the intimate realm separating life and death. They also prompt us to recall that feminist thinkers have turned to the pregnant body as a source of insight. With her challenge to the notion of a singular, unified body, the pregnant woman points to new philosophical models of the self – possibilities that have yet to be explored fully on screen, but towards which the two contemporary Russian films discussed in this essay may point.
{"title":"‘One foot in the grave’: pregnancy and folk culture in recent Russian films","authors":"Jenny Kaminer","doi":"10.1080/17503132.2022.2026160","DOIUrl":"https://doi.org/10.1080/17503132.2022.2026160","url":null,"abstract":"ABSTRACT This article focuses on two recent Russian films – Vasilii Sigarev’s Living (2012) and Natasha Merkulova and Aleksei Chupov’s The Man who Surprised Everyone (2018) – that exploit the multivalent potential of the pregnant body. Both films enlist the symbolism with which Russian traditional culture has infused that body to create complex, nuanced cinematic depictions of the porousness between the realm of the living and that of the dead. The folk symbolism of pregnancy facilitates the directors’ subtle critiques of contemporary Russian society, including its cynicism; casual, ubiquitous violence; and rigid gender hierarchies. These films highlight the pregnant woman’s destabilising potential, one that challenges the Russian state’s increasingly fervent incursion into the intimate realm separating life and death. They also prompt us to recall that feminist thinkers have turned to the pregnant body as a source of insight. With her challenge to the notion of a singular, unified body, the pregnant woman points to new philosophical models of the self – possibilities that have yet to be explored fully on screen, but towards which the two contemporary Russian films discussed in this essay may point.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"16 1","pages":"25 - 43"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46956540","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 : 2022-01-02DOI: 10.1080/17503132.2022.2031761
R. Morley
{"title":"Cinemasaurus: Russian film in contemporary context","authors":"R. Morley","doi":"10.1080/17503132.2022.2031761","DOIUrl":"https://doi.org/10.1080/17503132.2022.2031761","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"16 1","pages":"82 - 84"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43884118","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 : 2022-01-02DOI: 10.1080/17503132.2022.2026156
Stephen M. Norris
{"title":"Faster, higher, stronger, comrades! Sports, art, and ideology in late Russian and early Soviet culture","authors":"Stephen M. Norris","doi":"10.1080/17503132.2022.2026156","DOIUrl":"https://doi.org/10.1080/17503132.2022.2026156","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":"16 1","pages":"81 - 82"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46133567","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}
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