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":null,"pages":null},"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: 10.1080/17503132.2022.2026160
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":null,"pages":null},"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: 10.1080/17503132.2022.2026153
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":null,"pages":null},"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: 10.1080/17503132.2022.2031761
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":null,"pages":null},"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":null,"pages":null},"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}
Pub Date : 2021-09-12DOI: 10.1080/17503132.2021.1970387
Marina Rojavin
{"title":"She animates: Soviet female subjectivity in Russian animation","authors":"Marina Rojavin","doi":"10.1080/17503132.2021.1970387","DOIUrl":"https://doi.org/10.1080/17503132.2021.1970387","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49504835","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 : 2021-09-02DOI: 10.1080/17503132.2021.1970384
O. Blackledge
of DeBlasio’s text is so fitting for its main protagonist, one can’t help but wonder what could be gained if the book was organised chronologically rather than thematically. What if the discussions of all the films of the 1980s were clustered together, including Mamardashvili’s own discussion of Vadim Abdrashitov and Aleksandr Mindadze’s film The Train Stopped (1982)? While the book does a good job at historicising some aspects of Mamardashvili’s philosophy, there are some aspects that seem missing. While there are some convincing arguments about the social and political in Chapter 3 on Mamuliya’s Another Sky (2010), the transition between the Soviet and the post-Soviet periods is in the background but is never properly addressed. For a book on a Marxist philosopher interested in consciousness, The filmmaker’s philosopher has very little on any aspects of late Soviet Marxism. While Mamardashvili died in 1990, before the Soviet Union collapsed, what does his lasting influence on post-Soviet filmmakers tell us about those filmmakers or his philosophy in terms of politics? Perhaps it is one of the speculative questions the book inspires rather than criticism. I hope DeBlasio’s book can be used as a springboard for future researchers to look into other issues of Mamardashvili’s work, but also into the larger intellectual history of the late Soviet period, as well as the individual filmmakers. Chapters on Sokurov and Balabanov are great additions to studies of these auteurs, covering their lesser-known films (Balabanov’s cinema is still awaiting a book-length study in the English language). The conclusion, which discusses Andrei Zvyagintsev’s Loveless (2017) and questions of film philosophy, is an intriguing end to a compelling study. It is a must read for anybody interested in Soviet film and culture and for scholars interested in film and philosophy.
{"title":"Animation behind the iron curtain: a guide to animated films from Russia and eastern bloc countries during the Cold War era","authors":"O. Blackledge","doi":"10.1080/17503132.2021.1970384","DOIUrl":"https://doi.org/10.1080/17503132.2021.1970384","url":null,"abstract":"of DeBlasio’s text is so fitting for its main protagonist, one can’t help but wonder what could be gained if the book was organised chronologically rather than thematically. What if the discussions of all the films of the 1980s were clustered together, including Mamardashvili’s own discussion of Vadim Abdrashitov and Aleksandr Mindadze’s film The Train Stopped (1982)? While the book does a good job at historicising some aspects of Mamardashvili’s philosophy, there are some aspects that seem missing. While there are some convincing arguments about the social and political in Chapter 3 on Mamuliya’s Another Sky (2010), the transition between the Soviet and the post-Soviet periods is in the background but is never properly addressed. For a book on a Marxist philosopher interested in consciousness, The filmmaker’s philosopher has very little on any aspects of late Soviet Marxism. While Mamardashvili died in 1990, before the Soviet Union collapsed, what does his lasting influence on post-Soviet filmmakers tell us about those filmmakers or his philosophy in terms of politics? Perhaps it is one of the speculative questions the book inspires rather than criticism. I hope DeBlasio’s book can be used as a springboard for future researchers to look into other issues of Mamardashvili’s work, but also into the larger intellectual history of the late Soviet period, as well as the individual filmmakers. Chapters on Sokurov and Balabanov are great additions to studies of these auteurs, covering their lesser-known films (Balabanov’s cinema is still awaiting a book-length study in the English language). The conclusion, which discusses Andrei Zvyagintsev’s Loveless (2017) and questions of film philosophy, is an intriguing end to a compelling study. It is a must read for anybody interested in Soviet film and culture and for scholars interested in film and philosophy.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45745139","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 : 2021-09-02DOI: 10.1080/17503132.2021.1990514
B. Beumers
The third issue of Studies in Russian & Soviet Cinema for 2021 presents four articles that stretch across the entire history of Soviet and post-Soviet cinema and visual art forms. We begin with Binayak Bhattacharya’s extraordinary analysis of the impact of Soviet cinema on the Indian film industry, revealing the absence from distribution of many films that were banned for political reasons from British India (as much as Britain itself) whilst having, through critical narrative, a strong influence on filmmakers. Using archival sources, he reconstructs these critical narratives. Sergei Ogudov engages in a similarly meticulous reconstruction of creative processes, in his case of the changes between Ekaterina Vinogradskaia’s literary script and Fridrikh Ermler’s film A Fragment of the Empire, drawing extensively on archival sources and applying narrative theory to the comparison of the texts. We stay in the Soviet era for Deborah Allison’s perceptive reading of the war-time imagery in the fairy-tale film Kashchei the Immortal by Aleksandr Rou. Finally, Lynn Patyk takes us to the very present with a study of Little Big and the group’s synthetic approach in the music video. We have a rich section of book reviews, prepared and presented by Stephen M. Norris, to whom I express my deep gratitude for this ‘booster’ in the midst of delays caused by the pandemic almost everywhere along any publication process. As this issue is about to go to print, news has come in of the premature and unexpected death of the outstanding film scholar and programme director of the Moscow International Film Festival, Kirill Razlogov (whose article on Parajanov’s prison experience and its impact on his films appeared in this journal in 2018). Our deepest sympathy goes to his family and friends, colleagues and students – indeed, a whole generation of new film scholars. As always, Studies in Russian & Soviet Cinema encourages submissions on any aspect of Soviet, post-Soviet and Russian 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. I should like to take this opportunity to thank the journal’s production team at Taylor & Francis, as well as my editorial and advisory boards, and particularly Richard Taylor for his generosity when it comes to matters of translation.
《俄罗斯和苏联电影研究》2021年第三期将刊登四篇文章，涵盖苏联和后苏联电影和视觉艺术形式的整个历史。我们从Binayak Bhattacharya对苏联电影对印度电影业的影响的非凡分析开始，揭示了许多因政治原因在英属印度(和英国本身一样)被禁止发行的电影，同时通过批判性叙事对电影人产生了强烈的影响。利用档案资料，他重构了这些批判性叙事。谢尔盖·奥古多夫(Sergei Ogudov)对创作过程进行了同样细致的重建，在他研究叶卡捷琳娜·维诺格拉茨卡娅的文学剧本和弗里德里克·埃尔姆勒(Fridrikh Ermler)的电影《帝国的片段》(a Fragment of the Empire)之间的变化时，他广泛地借鉴了档案资料，并运用叙事理论对文本进行了比较。我们停留在苏联时代，欣赏德博拉·艾莉森(Deborah Allison)对亚历山大·鲁(Aleksandr Rou)的童话电影《不朽的卡舍伊》(Kashchei the Immortal)中战时意象的敏锐解读。最后，Lynn Patyk将我们带到了当下，对Little Big和乐队在音乐视频中的合成方法进行了研究。我们有一个丰富的书评部分，由斯蒂芬·m·诺里斯(Stephen M. Norris)编写和呈现。在疫情几乎在任何出版过程中造成延误的情况下，我对他的“助推器”表示深切的感谢。在本期即将付印之际，有消息称，杰出的电影学者、莫斯科国际电影节项目总监基里尔·拉兹洛戈夫(Kirill Razlogov)过早意外去世(他关于帕拉贾诺夫入狱经历及其对他电影的影响的文章于2018年发表在本刊上)。我们向他的家人、朋友、同事和学生，以及整整一代的新电影学者致以最深切的同情。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，包括前苏联领土。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。我想借此机会感谢《泰勒与弗朗西斯》杂志的制作团队，以及我的编辑和顾问委员会，特别是理查德·泰勒在翻译问题上的慷慨解囊。
{"title":"Editorial","authors":"B. Beumers","doi":"10.1080/17503132.2021.1990514","DOIUrl":"https://doi.org/10.1080/17503132.2021.1990514","url":null,"abstract":"The third issue of Studies in Russian & Soviet Cinema for 2021 presents four articles that stretch across the entire history of Soviet and post-Soviet cinema and visual art forms. We begin with Binayak Bhattacharya’s extraordinary analysis of the impact of Soviet cinema on the Indian film industry, revealing the absence from distribution of many films that were banned for political reasons from British India (as much as Britain itself) whilst having, through critical narrative, a strong influence on filmmakers. Using archival sources, he reconstructs these critical narratives. Sergei Ogudov engages in a similarly meticulous reconstruction of creative processes, in his case of the changes between Ekaterina Vinogradskaia’s literary script and Fridrikh Ermler’s film A Fragment of the Empire, drawing extensively on archival sources and applying narrative theory to the comparison of the texts. We stay in the Soviet era for Deborah Allison’s perceptive reading of the war-time imagery in the fairy-tale film Kashchei the Immortal by Aleksandr Rou. Finally, Lynn Patyk takes us to the very present with a study of Little Big and the group’s synthetic approach in the music video. We have a rich section of book reviews, prepared and presented by Stephen M. Norris, to whom I express my deep gratitude for this ‘booster’ in the midst of delays caused by the pandemic almost everywhere along any publication process. As this issue is about to go to print, news has come in of the premature and unexpected death of the outstanding film scholar and programme director of the Moscow International Film Festival, Kirill Razlogov (whose article on Parajanov’s prison experience and its impact on his films appeared in this journal in 2018). Our deepest sympathy goes to his family and friends, colleagues and students – indeed, a whole generation of new film scholars. As always, Studies in Russian & Soviet Cinema encourages submissions on any aspect of Soviet, post-Soviet and Russian 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. I should like to take this opportunity to thank the journal’s production team at Taylor & Francis, as well as my editorial and advisory boards, and particularly Richard Taylor for his generosity when it comes to matters of translation.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43348428","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 : 2021-09-02DOI: 10.1080/17503132.2021.1970383
R. Sidenova
{"title":"The filmmaker’s philosopher. Merab Mamardashvili and Russian cinema","authors":"R. Sidenova","doi":"10.1080/17503132.2021.1970383","DOIUrl":"https://doi.org/10.1080/17503132.2021.1970383","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43359557","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 : 2021-09-02DOI: 10.1080/17503132.2021.1970388
Natalia Plagmann
of their greater number, even though their contributions to what the authors call women’s cinema may not be any less consequential. Indeed, the conversation about gender issues and what women’s cinema is begins in the introduction of Chapter 1. The authors argue and convincingly illustrate throughout the book that ‘animation made by women was and is gendered’ (5) and that animations made by women depict opinions on important feminine problems. They effectively prove that these twelve female directors shaped the notion of female subjectivity in Soviet animation. Finally, the book positions animation as more than simply being of interest to children and places it in the broader context of Soviet and post-Soviet cinema and culture generally. The book is not without a few minor flaws. For example, it is unclear why the authors do not use a soft sign in their transliterations, which is quite eye-catching for Russian speakers. Similarly, Chapter 1 would be better identified as an introduction because it functions as such: the book’s layout would have been more consistent and logical. Nevertheless, She animates productively ‘begins a dialogue about women animators, preserving their legacy through the concept of women’s cinema’ (193). Michele Leigh and Lora Mjolsness have done a great job highlighting women’s directorial voices together with feminine aesthetics and Soviet and Russian female subjectivity. This interdisciplinary volume is an important and much-needed contribution to animation, gender and women’s studies.
{"title":"Men out of focus: the Soviet masculinity crisis in the long sixties","authors":"Natalia Plagmann","doi":"10.1080/17503132.2021.1970388","DOIUrl":"https://doi.org/10.1080/17503132.2021.1970388","url":null,"abstract":"of their greater number, even though their contributions to what the authors call women’s cinema may not be any less consequential. Indeed, the conversation about gender issues and what women’s cinema is begins in the introduction of Chapter 1. The authors argue and convincingly illustrate throughout the book that ‘animation made by women was and is gendered’ (5) and that animations made by women depict opinions on important feminine problems. They effectively prove that these twelve female directors shaped the notion of female subjectivity in Soviet animation. Finally, the book positions animation as more than simply being of interest to children and places it in the broader context of Soviet and post-Soviet cinema and culture generally. The book is not without a few minor flaws. For example, it is unclear why the authors do not use a soft sign in their transliterations, which is quite eye-catching for Russian speakers. Similarly, Chapter 1 would be better identified as an introduction because it functions as such: the book’s layout would have been more consistent and logical. Nevertheless, She animates productively ‘begins a dialogue about women animators, preserving their legacy through the concept of women’s cinema’ (193). Michele Leigh and Lora Mjolsness have done a great job highlighting women’s directorial voices together with feminine aesthetics and Soviet and Russian female subjectivity. This interdisciplinary volume is an important and much-needed contribution to animation, gender and women’s studies.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44446627","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：