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Women in Soviet Film by Marina Rojavin,Tim Harte Pdf
This book illuminates and explores the representation of women in Soviet cinema from the late 1950s, through the 1960s, and into the 1970s, a period when Soviet culture shifted away, to varying degrees, from the well-established conventions of socialist realism. Covering films about working class women, rural and urban women, and women from the intelligentsia, it probes various cinematic genres and approaches to film aesthetics, while it also highlights how Soviet cinema depicted the ambiguity of emerging gender roles, pressing social issues, and evolving relationships between men and women. It thereby casts a penetrating light on society and culture in this crucial period of the Soviet Union’s development.
Kino and the Woman Question is a study of Soviet silent films in terms of their complex and often contradictory explorations of woman's position within socialist culture and narrative. Judith Mayne argues that representations of women shaped, subverted, or otherwise complicated the cinematic and ideological goals of Soviet film in the 1920s.
Red Women on the Silver Screen by Lynne Attwood Pdf
The Soviet Union was the first country in the world to declare women equal to men. At the same time, cinema was emerging as the newest and most accessible form of popular entertainment, and as a powerful tool in propagandizing the Party line. This book looks at the interaction between these two phenomena: at the extent to which women's new status and roles were reflected and promoted on Soviet screens throughout the country's history. Part I, written by Lynne Attwood, provides an essential framework for readers unfamiliar with Soviet studies. It offers a lucid and lively account of the milestones in Soviet history, the importance of film within this history and the changing images and experiences of Soviet women within both cinema and society. In Parts II and III, women from the former Soviet Union - film critics, directors, camera-operators and script-writers - relate their own experiences in the film industry, and their responses to the images of women portrayed on screen. This crisply-written book, illustrated with evocative photographs from Soviet films, will provide readers with a real insight into the relationship between women and film in the Soviet Union.
"[The Woman at the Keyhole is one] of the most significant contributions to feminist film theory sin ce the 1970s." -- SubStance "... this intelligent, eminently readable volume puts women's filmmaking on the main stage.... serves at once as introduction and original contribution to the debates structuring the field. Erudite but never obscure, effectively argued but not polemical, The Woman at the Keyhole should prove to be a valuable text for courses on women and cinema." -- The Independent When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative.
She Animates examines the work of twelve female animation directors in the Soviet Union and Russia, who have long been overlooked by film scholars and historians. Our approach examines these directors within history, culture, and industrial practice in animation. In addition to making a case for including these women and their work in the annals of film and animation history, this volume also makes an argument for why their work should be considered part of the tradition of women’s cinema. We offer textual analysis that focuses on the changing attitudes towards both the woman question and feminism by examining the films in light of the emergence and evolution of a Soviet female subjectivity that still informs women’s cinema in Russia today.
Monograph on women, women's rights and the woman worker in the USSR - reviews trends in the improvement of women's social status, employment opportunities and educational opportunities, etc., presents numerous case histories illustrating the work life and family life of married women, and includes a comparison of the situation of women in other socialist countries. Bibliography pp. 328 to 335.
Cinema has long been recognised as the privileged bridge between Soviet ideologies and their mass public. Recent feminist-oriented work has drawn out the symbolic role of women in Soviet culture, but, not surprisingly, men too were expected to play their part. In this first full-length study of masculinity in Stalinist Soviet cinema, John Haynes examines the 'New Soviet Man' not only as an ideal of masculinity presented to Soviet cinemagoers, but also, precisely, as a man in his specific, and hotly debated social, cultural and political context. A detailed analysis of Stalinist discourse sets the stage for an examination of the imagined relationship between the patriarch Stalin and his 'model sons' in the key genre cycles of the era: from the capital to the collective farms, and ultimately to the very borders of the Soviet state. Informed by contemporary and present day debates over the social and cultural significance of cinema and masculinity, New Soviet Man draws on a range of theoretical and comparative material to produce engaging and accessible readings accounting for both the appeal of, and the inherent potential for subversion within, films produced by the Stalinist culture industry. New Soviet Man will be widely read by students and specialists in the fields of film studies, Russian and Soviet studies, gender and modern European history.
Ruptures and Continuities in Soviet/Russian Cinema by Birgit Beumers,Eugenie Zvonkine Pdf
This book, based on extensive original research, examines how far the collapse of the Soviet Union represented a threshold that initiated change or whether there are continuities which gradually reshaped cinema in the new Russia. The book considers a wide range of films and film-makers and explores their attitudes to genre, character and aesthetic style. The individual chapters demonstrate that, whereas genres shifted and characters developed, stylistic choices remained largely unaffected.
Women in the Khrushchev Era by M. Ilic,S. Reid,L. Attwood Pdf
This collection of essays examines women in the Khrushchev era, using both newly-accessible archival material and a re-reading of published sources. Exploring diverse subjects including housing, space flight, women workers, cinema, religion and consumption, the volume places the analysis of specific events or issues within a broader discussion of economic, political, ideological and international developments to provide a full analysis of the era.
Woman with a Movie Camera by Marina Goldovskaya Pdf
Marina Goldovskaya is one of Russia's best-known documentary filmmakers. The first woman in Russia (and possibly the world) to combine being a director, writer, cinematographer, and producer, Goldovskaya has made over thirty documentary films and more than one hundred programs for Russian, European, Japanese, and American television. Her work, which includes the award-winning films The House on Arbat Street, The Shattered Mirror, and Solovky Power, has garnered international acclaim and won virtually every prize given for documentary filmmaking. In Woman with a Movie Camera, Goldovskaya turns her lens on her own life and work, telling an adventurous, occasionally harrowing story of growing up in the Stalinist era and subsequently documenting Russian society from the 1960s, through the Thaw and Perestroika, to post-Soviet Russia. She recalls her childhood in a Moscow apartment building that housed famous filmmakers, being one of only three women students at the State Film School, and working as an assistant cameraperson on the first film of Andrei Tarkovsky, Russia's most celebrated director. Reviewing her professional filmmaking career, which began in the 1960s, Goldovskaya reveals her passion for creating films that presented a truthful picture of Soviet life, as well as the challenges of working within (and sometimes subverting) the bureaucracies that controlled Russian film and television production and distribution. Along the way, she describes a host of notable figures in Russian film, theater, art, and politics, as well as the technological evolution of filmmaking from film to video to digital media. A compelling portrait of a woman who broke gender and political barriers, as well as the eventful four decades of Russian history she has documented, Woman with a Movie Camera will be fascinating reading for a wide audience.
“Widdis’s rich and fascinating book has opened a new perspective from which to think about the Soviet cinema.” —Kritika This major reimagining of the history of Soviet film and its cultural impact explores the fundamental transformations in how film, through the senses, remade the Soviet self in the 1920s and 1930s. Following the Russian Revolution, there was a shared ambition for a ‘sensory revolution’ to accompany political and social change: Soviet men and women were to be reborn into a revitalized relationship with the material world. Cinema was seen as a privileged site for the creation of this sensory revolution: Film could both discover the world anew, and model a way of inhabiting it. Drawing upon an extraordinary array of films, noted scholar Emma Widdis shows how Soviet cinema, as it evolved from the revolutionary avant-garde to Socialist Realism, gradually shifted its materialist agenda from emphasizing the external senses to instilling the appropriate internal senses (consciousness, emotions) in the new Soviet subject.
Women in Russia and Ukraine by Rosalind J. Marsh Pdf
In this book, leading western specialists and Russian and Ukrainian feminists examine how gender has shaped Russian and Ukrainian history from the twelfth century to the present. In particular, they analyse the current backlash against women's emancipation. Using new archival materials and the insights of feminist theory, the contributors explore the relevance of gender equality and difference in Russian history. They find that women have not merely submitted to the patriarchal system, but instead have found creative ways of resisting it. Chapters focusing on contemporary Russia discuss abortion, pornography, sexual minorities, young women's lifestyles, the impact of economic reform on women and the development of the women's movement. This book will be of interest to students and specialists in Russian, Ukrainian and women's studies, as well as to historians, political scientists, sociologists and economists.
Russian Cinema provides a lively and informative exploration of the film genres that developed during Russia's tumultuous history, with discussion of the work of Eisenstein, Pudovkin, Mikhalkov, Paradzhanov, Sokurov and others. The background section assesses the contribution of visual art and music, especially the work of the composers Shostakovich and Prokofev, to Russian cinema. Subsequent chapters explore a variety of topics: The literary space - the cinematic rendering of the literary text, from 'Sovietized' versions to bolder and more innovative interpretations, as well as adaptations of foreign classics The Russian film comedy looks at this perennially popular genre over the decades, from the 'domestication' of laughter under Stalin to the emergence of satire The historical film - how history has been used in film to affirm prevailing ideological norms, from October to Taurus Women and Russian film discusses some of the female stars of the Soviet screen (Liubov Orlova, Vera Alentova, Liudmila Gurchenko), as well as films made by male and female directors, such as Askoldov and Kira Muratova Film and ideology shows why ideology was an essential component of Soviet films such as The Maxim Trilogy, and how it was later definitively rejected The Russian war film looks at Civil War and Second World War films, and the post-Soviet treatment of recent conflicts in Afghanistan and Chechnya Private life and public morality explores the evolution of melodramas about youth angst, town and village life, personal relationships, and the emergence of the dominant sub-genre of the 1990s, the gangster thriller Autobiography, memory and identity offers a close reading of the work of Andrei Tarkovskii, Russia's greatest post-war director, whose films, including Andrei Rublev and Mirror, place him among the foremost European auteur film-makers Russian Cinema offers a close analysis of over 300 films illustrated with representative stills throughout. As with other titles in the Inside Film series it includes comprehensive filmographies, a thorough bibliography and an annotated further reading list. The book is a jargon-free, accessible study that will be of interest to undergraduates of film studies, modern languages, Russian language and literature, as well as cineastes, film teachers and researchers.
The Zero Hour by Andrew Horton,Michael Brashinsky Pdf
Now faced with the "zero hour" created by a new freedom of expression and the dramatic breakup of the Soviet Union, Soviet cinema has recently become one of the most interesting in the world, aesthetically as well as politically. How have Soviet filmmakers responded to the challenges of glasnost? To answer this question, the American film scholar Andrew Horton and the Soviet critic Michael Brashinsky offer the first book-length study of the rapid changes in Soviet cinema that have been taking place since 1985. What emerges from their collaborative dialogue is not only a valuable work of film criticism but also a fascinating study of contemporary Soviet culture in general. Horton and Brashinsky examine a wide variety of films from BOMZH (initials standing for homeless drifter) through Taxi Blues and the glasnost blockbuster Little Vera to the Latvian documentary Is It Easy to Be Young? and the "new wave" productions of the "Wild Kazakh boys." The authors argue that the medium that once served the Party became a major catalyst for the deconstruction of socialism, especially through documentary filmmaking. Special attention is paid to how filmmakers from 1985 through 1990 represent the newly "discovered" past of the pre-glasnost era and how they depict troubled youth and conflicts over the role of women in society. The book also emphasizes the evolving uses of comedy and satire and the incorporation of "genre film" techniques into a new popular cinema. An intriguing discussion of films of Georgia, Estonia, Latvia, Lithuania, and Kazakhstan ends the work.