The Red Screen: Politics, Society, Art in Soviet Cinema

Book Cover......Page 1
Half-Title......Page 2
Title......Page 3
Copyright......Page 4
Contents......Page 5
Introduction: An Interpretive Survey......Page 8
NOTES......Page 22
CHAPTER 1 Government Policies and Practical Necessities in the Soviet Cinema of the 1920s......Page 26
THE CIVIL WAR PERIOD: 1918–21......Page 27
THE NEW ECONOMIC POLICY: THE GOVERNMENT AND THE FILM INDUSTRY......Page 30
THE NEW ECONOMIC POLICY: FOREIGN TRADE......Page 35
CONCLUSIONS......Page 44
NOTES......Page 45
CHAPTER 2 Ideology and Popular Culture in Soviet Cinema: The Kiss of Mary Pickford......Page 50
ART WITHOUT A CAPITAL LETTER, A PEDESTAL OR A FIG-LEAF......Page 60
NOTES......Page 70
THE EARLY FILMS: KATKA THE\r APPLESELLER, THE PARISIAN COBBLER, HOUSE IN THE SNOWDRIFTS AND FRAGMENT OF AN EMPIRE......Page 74
FRIDRIKH ERMLER......Page 82
ERMLER AND NIKITIN......Page 84
THE KEY FILMS: THE PARISIAN COBBLER AND FRAGMENT OF AN EMPIRE......Page 87
CODA: COUNTERPLAN......Page 89
THE SIGNIFICANCE OF ERMLER AND HIS WORK......Page 91
NOTES......Page 92
CHAPTER 4 Cinematic Abstraction as a Means of Conveying Ideological Messages in The Man with the Movie Camera......Page 98
NOTES......Page 116
CHAPTER 5 The Kinetic Icon and the Work of Mourning: Prolegomena to the Analysis of a Textual System......Page 120
NOTES......Page 136
CHAPTER 6 Mr Kuleshov in the Land of the Modernists......Page 138
NOTES......Page 150
THE COMPARATIVE CONTEXT......Page 154
DOCUMENTARIES......Page 156
MOBILIZING THE FILM INDUSTRY......Page 161
WAR FILMS......Page 165
NATIONALISM AND HISTORY......Page 170
NOTES......Page 174
CHAPTER 8 The New Wave in Soviet Cinema......Page 180
DIFFICULT FILMS......Page 181
NOTES......Page 195
CHAPTER 9 The War and Kozin tsev’s Films Hamlet and King Lear......Page 198
NOTES......Page 213
CHAPTER 10 The Image of Women in Contemporary Soviet Cinema......Page 216
LIST OF FILMS......Page 231
NOTES......Page 233
CHAPTER 11 Russian Nationalist Themes in Soviet Film of the 1970s......Page 236
VASILII SHUKSHIN’S KALINA KRASNAIA......Page 237
ANDREI MIKHALKOV-KONCHALOVSKY’S SIBERIADE......Page 239
VLADIMIR MEN’SHOV’S MOSCOW DOES NOT BELIEVE IN TEARS......Page 243
ANDREI TARKOVSKY’S THE MIRROR......Page 246
ELEM KLIMOV’S AGONY......Page 248
NOTES......Page 251
CHAPTER 12 Socialist Realism and American Genre Film: The Mixing of Codes in Jazzman......Page 254
NOTES......Page 267
CHAPTER 13 Art and Propaganda in the Soviet Union, 1980–5......Page 270
NOTES......Page 279
CHAPTER 14 Alexei German, or the Form of Courage......Page 282
CHAPTER 15 Scarecrow and Kindergarten: A Critical Analysis and Comparison......Page 290
NOTES......Page 296
CHAPTER 16 The Cinema of the Transcaucasian and Central Asian Soviet Republics......Page 298
RUSSIAN FILMS AND HISTORY......Page 310
HISTORY IN NON-RUSSIAN CINEMA......Page 313
TRADITION—AN ALTERNATIVE TO OFFICIAL HISTORY?......Page 317
NOTES......Page 320
CHAPTER 18 Does a Film Writing of History Exist? The Case of the Soviet Union......Page 322
SUPPLEMENTAL NOTE: PROPOSAL FOR A GLOBAL CLASSIFICATION OF FILMS IN THEIR RELATIONSHIP TO HISTORY......Page 327
CHAPTER 19 The Anthill in the Year of the Dragon......Page 330
THE FIRST WAY......Page 331
THE CROSSROAD......Page 332
GLASNOST ITALIAN-STYLE......Page 333
CRITICISM IN LAW......Page 334
TO KILL THE DRAGON IN THE YEAR OF THE DRAGON......Page 335
THE NEW FACE OF THE “OLDEST PROFESSION”......Page 336
CHAPTER 20 With Perestroika, without Tarkovsky......Page 340
Notes on Contributors......Page 350
Index......Page 354