A01=Andrew Horton
A01=Michael Brashinsky
Aftermath of World War II
Aleksandr Solzhenitsyn
Andrei Platonov
Andrzej Wajda
Author_Andrew Horton
Author_Michael Brashinsky
Autumn Marathon
Battleship Potemkin
Boris Shumyatsky
Category=ATFA
Category=JBCC
Dziga Vertov
Eldar Ryazanov
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eq_bestseller
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eq_isMigrated=2
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eq_society-politics
Era of Stagnation
Film industry
Filmmaking
French New Wave
Genre
Ghostbusters II
Glasnost
Harold Pinter
High Spirits (musical)
His Excellency (opera)
Inception
Intergirl
Italian neorealism
Kira Muratova
Kramer vs. Kramer
La Dolce Vita
Laughter
Leonid Brezhnev
Leonid Filatov
Little Vera
Melodrama
Narrative
New class
Newsreel
Nina Andreyeva
Novy Mir
On the Cult of Personality and Its Consequences
Perestroika
Potemkin village
Prostitution
Robert De Niro
Romanticism
Russian culture
Russian reversal
Samizdat
Satire
Screwball comedy film
Sergei Parajanov
Shadows of Forgotten Ancestors
Socialist realism
Soviet people
Soviet Screen
Soviet Union
Stalinism
Stanislav Govorukhin
Stilyagi
Tango & Cash
Taxi Blues
Television
The Film Crew
The Good Soldier Svejk
The Legend of Suram Fortress
Tootsie
Totalitarianism
Tragicomedy
Vasilyev brothers
Vladimir Vysotsky
Vsevolod Pudovkin
World War II
Zelig
Zerograd
Product details
- ISBN 9780691019208
- Weight: 454g
- Dimensions: 152 x 229mm
- Publication Date: 15 Jul 1992
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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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.
