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Of Other Cinematic Spaces

Urban Zionism in Early Hebrew Cinema

Hizky Shoham

The Zionist ethos is commonly described as pro-rural and anti-urban, with the imagined Zionist space perceived as being rural and the Zionist drama as a reflection of the life of the pioneers in Palestine. Recent studies of early Hebrew cinema shared this view. This article analyzes two Jewish films from inter-war Palestine, Vayehi Bimey (In the Days of Yore) (1932, Tel Aviv) and Zot Hi Ha'aretz (This Is the Land) (1935, Tel Aviv), to suggest a more complex view of the Zionist ethos and spatial imagery in the context of the relationship between the urban and the rural. A thematic and formal analysis of the films shows their sources of Soviet influence and reveals the presentation of the city as a nationalist space.

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The Return of Mother Russia

Representations of Women in Soviet Wartime Cinema

Elena Baraban

This article examines the process of symbolisation in the images of women in Soviet cinema. It argues that during the Great Patriotic War (1941–1945) many female characters served as symbolic representations of the country itself, of Mother Russia, determined to defeat the enemy and ready to endure hardships and to cope with deprivation and grief. The start of the resistance against Nazi Germany called for many more depictions of women than was typical in the thoroughly masculinised culture of the 1930s. At the same time, wartime images of women were quite abstract: they recalled posters and often relied on a symbolically charged mise-en-scène.

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Ivan Mozzhukhin’s Acting Style

Beyond the Kuleshov Effect

Johannes Riis

the virtuosity of a specific Bauer tracking shot (1994: 208). Denise Youngblood describes Kuleshov as Bauer’s protégé and views him as one of the most important links between Csarist and Soviet cinema (1999: 145). Both Khanzhonkov and Yermoliev had

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Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

Soviet cinema is initially a little confusing, this chapter allows Jacobs to clarify the concept of film rhythm and to propose means of quantifying it in the absence of the fixed units of measurement that exist in music. She draws on Eisenstein

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Shadows, Screens, Bodies, and Light

Reading the Discursive Shadow in the Age of American Silent Cinema

Amy E. Borden

. Röntgen . Springfield, IL : C. C. Thomas . Gorky , Maxim . (1896) 2002 . “ The Lumière Cinematograph .” In The Film Factory: Russian and Soviet Cinema in Documents 1896–1939 , ed. Richard Taylor and Ian Christie , 25 – 26 . New York

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Sergey Glebov

also with elements of European racializing views, was reduced to what a Soviet cinema censor called (probably citing Maksim Gorky's letter to Arsen'ev decades earlier) “our own [Alfred] Brehm and [James] Fennimore Cooper in one person.” 4 Arsen