Bücher
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| Film, Kunst und Kultur |
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Russisch 08 | |
Socialist Senses: Film, Feeling, and the Soviet Subject, 1917-1940Autor: Emma Widdis
Gebundene Ausgabe, 11.09.2017
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Blockbuster History in the New Russia: Movies, Memory, and PatriotismAutor: Stephen M. Norris
Gebundene Ausgabe, 19.10.2012
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The A to Z of Russian and Soviet Cinema: Volume 191 (The a to Z Guide Series, 191, Band 191)Autor: Peter Rollberg
Taschenbuch, 16.05.2010
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The Cult of Ivan the Terrible in Stalin's Russia (Studies in Russian and East European History and Society)Autor: M. Perrie
Gebundene Ausgabe, 25.10.2001
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The Imperial Trace: Recent Russian CinemaNancy CondeeTaschenbuch |
Die versiegelte Zeit: Gedanken zur Kunst, zur Ästhetik und Poetik des FilmsAndrej TarkowskijTaschenbuch |
Kollision im Kino: Mime Misu und der Untergang der "Titanic"Michael WedelTaschenbuch |
The Voice of Technology: Soviet Cinema's Transition to Sound, 1928-1935Lilya KaganovskyTaschenbuch |
Cinematic Cold War: The American and Soviet Struggle for Hearts and MindsTony Shaw, Denise J. YoungbloodGebundene Ausgabe |
Are My Blinkers Showing?: Adventures in Filmmaking in the New RussiaMichael YorkGebundene Ausgabe |
Visions of a New Land - Soviet Film from the Revolution to the Second World WarEmma WiddisTaschenbuch |
Glasnost-Soviet Cinema Responds (Texas Film Studies Series)Nicholas GalichenkoTaschenbuch |
Alexander Medvedkin Reader (Cinema and Modernity)Alexander MedvedkinTaschenbuchBroschiertes Buch Filmmaker Alexander Medvedkin (1900-89), a contemporary of Sergei Eisenstein and Alexander Dovzhenko, is celebrated today for his unique form of "total" documentary cinema, which aimed to bridge the distance between film and life, and for his use of satire during a period when the Soviet authorities preferred that laughter be confined to narrowly prescribed channels. This collection of selected writings by Medvedkin is the first of its kind and reveals how his work is a crucial link in the history of documentary film. Although he was a dedicated communist, Medvedkin's satirical approach and social critiques ultimately led to his suppression by the Soviet regime. State institutions held back or marginalized his work, and for many years, his films were assumed to have been lost or destroyed. These texts, many assembled for this volume by Medvedkin himself, document for the first time his considerable achievements, experiments in film and theater, and attempts to develop satire as a major Soviet film genre. Through scripts, letters, autobiographical writings, and more, we see a Medvedkin supported and admired by figures like Eisenstein, Dovzhenko, and Maxim Gorky. This is a rich testimony to the talent and inventiveness of one of the Soviet era's most revolutionary filmmakers. |