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.
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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。
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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.
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Pub Date : 2021-09-02DOI: 10.1080/17503132.2021.1970386
Stephen M. Norris
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Pub Date : 2021-09-02DOI: 10.1080/17503132.2021.1970390
Maria Belodubrovskaya
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Pub Date : 2021-09-02DOI: 10.1080/17503132.2021.1970385
Lida Oukaderova
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Pub Date : 2021-08-27DOI: 10.1080/17503132.2021.1970389
Stephen M. Norris
researched case study, but is this book, considered as a whole, greater than the sum of its parts? Kelly’s case studies prove in exhaustive detail what we have long known: for all the Soviet film bureaucracy’s claims to centralised control over every stage of the production, it never really functioned that way. Production was messy, convoluted and unpredictable; as difficult as it was for some not-very-rebellious filmmakers to function, there was still plenty of space for subversive work. Jamie Miller’s and Maria Belodubrovskaya’s studies of filmmaking in the Stalin era have demonstrated that very well, in much less detail than Kelly provides, but with much greater attention to developing an analytical framework that allows readers to better understand the ‘big picture’. Of course, the period under consideration in Soviet art house, the Brezhnev era, has been understudied compared to others, but not to the extent that it appears to be here. While Kelly pays careful attention to all Russian language sources, she does not seem to be interested in engaging with what scholars outside Russia have written, beyond merely listing their books in her voluminous notes, where they tend to be buried. I was particularly surprised by the failure to engage intellectually with Josephine Woll’s Real images, for example, because like Kelly, Woll was also interested in framing the long 1960s aesthetically, and some of their work overlaps, not specifically, but conceptually. And some important and potentially relevant work is just absent, such as Tony Shaw’s detailed analysis of the production history of The Blue Bird (a disastrous Lenfilm & Twentieth-Century Fox coproduction that pops up several times) in the Journal of Cold War Studies nearly a decade ago. Some readers of SRSC will likely take issue with all or part of my assessment, seeing the cornucopia of new details in this book about Lenfilm’s operations as more than compensating for the lack of a real thesis or sustained analysis. Unfortunately, it must also be noted that Oxford University Press has obviously pinched pennies in the production: cramped type, poor quality paper, drab cover art, low contrast reproductions and no bibliography. Shortcomings aside, Soviet art house is still a major monograph written by a leading scholar at one of the world’s greatest universities – and published by its very own press. It certainly deserves a more fitting presentation.
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Pub Date : 2021-08-26DOI: 10.1080/17503132.2021.1968568
Binayak Bhattacharya
ABSTRACT Censorship records show an apparent absence of Soviet films in Indian cinemas during the late years of British colonialism (1920s–40s). Apart from a few ‘apolitical’ feature films, Indian audiences hardly got any chance to watch important works of Soviet cinema until the late 1940s. Contrastingly, a number of writings that appeared in film journals from the 1930s–40s provide evidence for a growing interest in Soviet cinema among Indian film enthusiasts. This cluster of writings virtually hides the fact that Soviet masterpieces were yet to reach the Indian viewers. Many Indian films from the same period also offer instances of Soviet influence revealed through political symbolism, visual styles and techniques. Exploring various layers of archival and filmic materials, the article traces the routes through which the Soviet influence provided motivations to filmmakers and enthusiasts about the new explorations in Soviet cinema in the absence of the actual films on Indian screens.
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Pub Date : 2021-08-25DOI: 10.1080/17503132.2021.1970391
Sergei Ogudov
ABSTRACT This article is devoted to a study of point of view in screenplay narrative. Starting from the concepts of Monika Fludernik and Manfred Jahn, who investigated focalisation derived from the principles of morphological poetics, the analysis follows the gradations of point of view and its transition from narrator to character, using the example of the screenplays for the film A Fragment of the Empire. Changing point of view corresponds to the transformation of the literary scenario into the director’s script and is presented as conflict: in the scenes of the return of memory, the character transitions from a naive ‘folkloric’ vision of the world to madness, which later finds its reflection in the film.
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