Red Women on the Silver Screen
| Author | : Ramboro Books |
| Publisher | : |
| Total Pages | : |
| Release | : 1997-06 |
| Genre | : |
| ISBN | : 9787215989320 |
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Red Women On The Silver Screen
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Red Women on the Silver Screen
| Author | : Lynne Attwood |
| Publisher | : Rivers Oram Press |
| Total Pages | : 296 |
| Release | : 1993 |
| Genre | : Performing Arts |
| ISBN | : |
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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.
Women and Martyrdom in Stalinist War Cinema
| Author | : Mozhgan Samadi |
| Publisher | : Cambridge Scholars Publishing |
| Total Pages | : 238 |
| Release | : 2024-04-03 |
| Genre | : Performing Arts |
| ISBN | : 1527589145 |
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The key question asked in this book is, how did Stalinist war cinema present Soviet women's resistance against the Nazi forces during World War II? This book challenges those scholarly works which support the idea of the compatibility of femininity and combat under Stalinism. Despite the Soviet regime’s claim of being opposed to any religious heritage, this book reveals how Stalinist cinema drew on Russian religious tradition and culture in the creation of cinematic representations of Soviet women during WWII. Further, the book shows how the adoption of Russian cultural and religious heritage in Soviet war cinema served Stalinist collective identity-construction policies and state-citizen relations. In so doing, this study contributes to a range of fields within Russian and Soviet studies, including gender studies, cinema studies, Soviet modernity, and the study of identity-construction and state-nation relations. Whilst this book is aimed at researchers and academics, it provides a supplementary source for undergraduate and postgraduate students of Soviet/Russian studies.
Women in Russia and Ukraine
| Author | : Rosalind J. Marsh |
| Publisher | : Cambridge University Press |
| Total Pages | : 376 |
| Release | : 1996-03-14 |
| Genre | : History |
| ISBN | : 9780521498722 |
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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.
The Red Atlantis
| Author | : J. Hoberman |
| Publisher | : Temple University Press |
| Total Pages | : 338 |
| Release | : 1998 |
| Genre | : Literary Criticism |
| ISBN | : 9781566397674 |
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For most of the twentieth century, American and European intellectual life was defined by its fascination with a particular utopian vision. Both the artistic and political vanguards were spellbound by the Communist promise of a new human era—so much so that its political terrors were rationalized as a form of applied evolution and its collapse hailed as the end of history.The Red Atlantisargues that Communism produced a complex culture with a dialectical relation to both modernism and itself. Offering examples ranging from the Stalinist show trial to Franz Kafka's posthumous career as a dissident writer And The work of filmmakers, painters, and writers, which can be understood only as criticism of existing socialism made from within,The Red Atlantissuggests that Communism was an aesthetic project—perhapstheaesthetic project of the twentieth century. Author note:J. Hoberman, staff writer for theVillage Voice, writes on film and culture for theVoice, theVoice Literary Supplement,Artforum, and other publications. His books includeBridge of Light: Yiddish Film Between Two Worlds(Temple, 1995) andVulgar Modernism: Writing on Movies and Other Media(Temple, 1991), which was nominated For The National Book Critics Circle award in criticism. He is an Adjunct Professor of Cinema at the Cooper Union.
Esfir Shub
| Author | : Ilana Shub Sharp |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 344 |
| Release | : 2021-12-30 |
| Genre | : Performing Arts |
| ISBN | : 1501376497 |
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Esfir Shub was the only prominent female director of nonfiction film present at the dawning of the Soviet film industry. She was, in fact, the first woman both to write critical texts on cinema and then practically apply these theorisations in her own films. As such, her syncretism of cinema theory and praxis inspired her to ask questions regarding both the nature of nonfiction film, such as the problem of authenticity and reality, and the function of the artist in society; issues which are still relevant in contemporary discussions about the documentary. Accordingly, this book demonstrates Shub's position not only as a significant filmmaker and recognised member of the early Soviet avant-garde but also as a key figure in global cinema history. Shub deserves recognition both as the founder and ardent promoter of the compilation film genre and as a pioneer of the theory and practice of documentary filmmaking.
European Cinema
| Author | : Jill Forbes |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 216 |
| Release | : 2017-03-05 |
| Genre | : Performing Arts |
| ISBN | : 1137080345 |
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The survival of cinema in Europe and the analysis of its heritage are key issues for the new century. This book asks how we can define European cinema and how it should be studied. It provides an overview of the problems, traditions and key questions that have informed the study of European cinema, investigating the links and tensions between Europe and Hollywood and exploring the different experiences of national identities within a common European framework. Twelve case studies of individual European films ranging from The Battleship Potemkin and The Lodger, to La Haine and Trainspotting, illustrate the distinctiveness and variety of cinema in Europe as well as the various critical methods by which it can be studied. With its detailed analysis of films from several European countries including Britain and Russia, the book encourages a comparative approach and raises urgent questions about the future of European cinema in the context of globalization. It will be of interest to students in Film Studies, European Studies and Modern European Languages and Cultures.
The BFI Companion to Eastern European and Russian Cinema
| Author | : Richard Taylor |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 232 |
| Release | : 2019-07-25 |
| Genre | : Performing Arts |
| ISBN | : 1838718494 |
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This work maps the rich, varied cinema of Eastern Europe, Russia and the former USSR. Over 200 entries cover a variety of topics spanning a century of endeavour and turbulent history from Czech animation to Soviet montage, from the silent cinemas dating back to World War I through to the varied responses to the conflicts in the former Yugoslavia. It includes entries on actors and actresses, film festivals, studios, genres, directors, film movements, critics, producers and technicians, taking the coverage up to the late 1990s. In addition to the historical material of key figures like Eisenstein and Wadja, the editors provide separate accounts of the trajectory of the cinemas of Eastern Europe and of Russia in the wake of the collapse of communism.
Women Film Directors
| Author | : Gwendolyn A. Foster |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 489 |
| Release | : 1995-11-14 |
| Genre | : Performing Arts |
| ISBN | : 0313368422 |
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Until now, there hasn't been one single-volume authoritative reference work on the history of women in film, highlighting nearly every woman filmmaker from the dawn of cinema including Alice Guy (France, 1896), Chantal Akerman (Belgium), Penny Marshall (U.S.), and Sally Potter (U.K.). Every effort has been made to include every kind of woman filmmaker: commercial and mainstream, avant-garde, and minority, and to give a complete cross-section of the work of these remarkable women. Scholars and students of film, popular culture, Women's Studies, and International Studies, as well as film buffs will learn much from this work. The Dictionary covers the careers of nearly 200 women filmmakers, giving vital statistics where available, listings of films directed by these women, and selected bibliographies for further reading. This is a one-volume, one-stop resource, a comprehensive, up-to-date guide that is absolutely essential for any course offering an overview or survey of women's cinema. It offers not only all available statistics, but critical evaluations of the filmmakers' work as well. In order to keep the length manageable, this volume focuses on women who direct fictional narrative films, with occasional forays into the area of the documentary and is limited to film production rather than video production.
Situating the Feminist Gaze and Spectatorship in Postwar Cinema
| Author | : Marcelline Block |
| Publisher | : Cambridge Scholars Publishing |
| Total Pages | : 410 |
| Release | : 2009-01-14 |
| Genre | : Performing Arts |
| ISBN | : 1443804398 |
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Marcelline Block’s Situating the Feminist Gaze and Spectatorship in Postwar Cinema breaks new ground in exploring feminist film theory. It is a wide-ranging collection (re)visiting important theoretical questions as well as offering close analyses of films produced in the United States, France, England, Belgium, and Russia. This anthology investigates exciting areas of research for critical inquiry into film and gender studies as well as feminist, queer, and postfeminist theories, and treats film texts from Marguerite Duras to 21st century horror films; from Agnès Varda’s 2007 installation at the Panthéon to the post-Soviet Russian filmmakers Aleksei Balabanov and Valerii Todorovskii; from Quentin Tarantino’s Death Proof to Sofia Coppola’s postfeminist trilogy; from Chantal Akerman’s “transhistorical, transgressive and transgendered gaze” to the “quantum gaze” in Steven Spielberg’s Jurassic Park; from Hitchcock’s “good-looking blondes” to the career-woman-in-peril thriller, among others. According to the semiotician Marshall Blonsky of the New School University in New York, “given the breadth of the editor’s choices, this volume makes a splendid contribution to feminist and cinematic fields, as well as cultural and media studies, postmodernism, and postfeminism. It lends readers ‘new eyes’ to view canonical and other film texts.” David Sterritt, chairman of the National Society of Film Critics, states that this anthology “should be required reading for students and scholars, among other readers interested in the interaction of cinema with contemporary culture.” Situating the Feminist Gaze and Spectatorship is prefaced by Jean-Michel Rabaté’s brilliant essay, “Mulvey was the First…”
