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Ukrainian Cinema: Belonging and Identity during the Soviet Thaw (KINO - The Russian and Soviet Cinema) 🔍
Joshua First I. B. Tauris, 2014
英语 [en] · PDF · 3.3MB · 2014 · 📘 非小说类图书 · 🚀/lgli/lgrs/nexusstc/upload/zlib · Save
描述
Ukrainian Cinema: Belonging and Identity during the Soviet Thaw is the first concentrated study of Ukrainian cinema in English. In particular, historian Joshua First explores the politics and aesthetics of Ukrainian Poetic Cinema during the Soviet 1960s-70s. He argues that film-makers working at the Alexander Dovzhenko Feature Film Studio in Kiev were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognize Ukrainian cultural difference. The first two chapters provide the background on how Soviet cinema since Stalin cultivated an exoticised and domesticated image of Ukrainians, along with how the film studio in Kiev attempted to rebuild its reputation during the early Sixties as a centre of the cultural thaw in the USSR. The next two chapters examine Sergei Paradjanov's highly influential Shadows of Forgotten Ancestors (1965) and its role in reorienting the Dovzhenko studio toward the auteurist (some would say elitist) agenda of Poetic Cinema.
In the final three chapters, Ukrainian Cinema looks at the major works of film-makers Yurii Illienko, Leonid Osyka, and Leonid Bykov, among others, who attempted (and were compelled) to bridge the growing gap between a cinema of auteurs and concerns to generate profit for the Soviet film industry.
备用文件名
nexusstc/Ukrainian Cinema: Belonging and Identity during the Soviet Thaw/2a591d0bf941710210917d3a18467552.pdf
备用文件名
lgli/Ukrainian Cinema - Joshua First.pdf
备用文件名
lgrsnf/Ukrainian Cinema - Joshua First.pdf
备用文件名
zlib/no-category/Joshua First/Ukrainian Cinema: Belonging and Identity during the Soviet Thaw_24351714.pdf
备选作者
First, Joshua;
备用出版商
I.B. Tauris Bloomsbury Publishing
备用出版商
Bloomsbury Publishing PLC
备用出版商
I.B. Tauris & Co. Ltd.
备用出版商
Taylor & Francis Ltd
备用版本
KINO, the Russian cinema series, 13, First edition, London England [London England, 2019
备用版本
KINO, the Russian and Soviet cinema series, London, 2015
备用版本
KINO, the Russian cinema series, New York, 2015
备用版本
United Kingdom and Ireland, United Kingdom
备用版本
Bloomsbury UK, London, 2015
备用版本
Illustrated, FR, 2015
元数据中的注释
producers:
Acrobat Distiller 9.5.5 (Windows)
元数据中的注释
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备用描述
Ukrainian cinema: Belonging and identity during the Soviet thaw' is the first concentrated study of Ukrainian cinema in English. In particular, historian Joshua First explores the politics and aesthetics of Ukrainian Poetic Cinema during the Soviet 1960s-70s. He argues that film-makers working at the Alexander Dovzhenko Feature Film Studio in Kiev were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognize Ukrainian cultural difference. The first two chapters provide the background on how Soviet cinema since Stalin cultivated an exoticised and domesticated image of Ukrainians, along with how the film studio in Kiev attempted to rebuild its reputation during the early Sixties as a centre of the cultural thaw in the USSR. The next two chapters examine Sergei Paradjanov's highly influential Shadows of Forgotten Ancestors (1965) and its role in reorienting the Dovzhenko studio toward the auteurist (some would say elitist) agenda of Poetic Cinema.0In the final three chapters, 'Ukrainian cinema' looks at the major works of film-makers Yurii Illienko, Leonid Osyka, and Leonid Bykov, among others, who attempted (and were compelled) to bridge the growing gap between a cinema of auteurs and concerns to generate profit for the Soviet film industry
备用描述
Ukrainian Cinema: Belonging and Identity during the Soviet Thaw is the first concentrated study of Ukrainian cinema in English. In particular, historian Joshua First explores the politics and aesthetics of Ukrainian Poetic Cinema during the Soviet 1960s-70s. He argues that film-makers working at the Alexander Dovzhenko Feature Film Studio in Kyiv were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognize Ukrainian cultural difference. The first two chapters provide background on how Soviet cinema since Stalin cultivated an exoticised and domesticated image of Ukrainians, along with how the film studio in Kyiv attempted to rebuild its reputation during the early sixties as a center of the cultural Thaw in the USSR. The next two chapters examine Sergei Paradjanov's highly influential Shadows of Forgotten Ancestors (1965) and its role in reorienting Dovzhenko Studio toward the auteurist (some would say elitist) agenda of Poetic Cinema. In the final three chapters, Ukrainian Cinema looks at the major works of film-makers Iurii Illienko, Leonid Osyka, and Leonid Bykov, among others, who attempted (and were compelled) to bridge the growing gap between a cinema of auteurs and concerns to generate profits for the Soviet film industry.
备用描述
Cover 1
Copyright 5
Contents 6
List of Illustrations 7
General Editor’s Preface 9
Acknowledgements 11
Note on Transliteration 13
Introduction 14
Chapter 1 Stalinism, De-Stalinization and the Ukrainian in Soviet Cinema 34
Chapter 2 Rebuilding a National Studio During the Early 1960s 58
Chapter 3 Sergei Paradjanov’s Carpathian Journey 89
Chapter 4 Paradjanov and the Problem of Film Authorship 116
Chapter 5 ‘Ukrainian Poetic Cinema’ and the Construction of ‘Dovzhenko’s Traditions’ 137
Chapter 6 Making National Cinema in the Era of Stagnation 167
Chapter 7 ‘Ukrainian Poetic Cinema’ between the Communist Party and Film Audiences 193
Conclusion: Ukrainian Cinema and the Limitations of National Expression 215
Notes 223
Bibliography 241
备用描述
Historian Joshua First explores the politics and aesthetics of Ukrainian Poetic Cinema during the Soviet 1960s-70s. 'Ukrainian Cinema' during the Soviet thaw is the first concentrated study of Ukrainian cinema in English. In particular, historian Joshua First explores the politics and aesthetics of Ukrainian poetic cinema during the Soviet 1960s-70s. He argues that filmmakers working at the Alexander Dovzhenko Feature Film Studio in Kiev were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognize Ukrainian cultural difference
备用描述
Stalinism, De-stalinization And The Ukrainian In Soviet Cinema -- Rebuilding A National Studio During The Early 1960s -- Sergei Paradjanov's Carpathian Journey -- Paradjanov And The Problem Of Film Authorship -- 'ukrainian Poetic Cinema' And The Construction Of 'dovzhenko's Traditions' -- Making National Cinema In The Era Of Stagnation -- 'ukrainian Poetic Cinema' Between The Communist Party And Film Audiences -- Conclusion: Ukrainian Cinema And The Limitations Of National Expression. Joshua First. Includes Bibliographical References (pages 228-235) And Index.
开源日期
2022-12-08
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