Russian Critics on the Cinema of Glasnost (Cambridge Studies in Film)
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This collection brings together twenty-three essays by some of Russia's most astute commentators on film and culture, written during the 1980s and published here in English for the first time. Included are reviews of films such as Little Vera and Taxi Blues, which were critically hailed in the West. Their comments illuminate important aspects of Russian filmmaking during this decade and capture a sense of a society in flux during the waning years of communism, as well as conveying the larger context within which Glasnost cinema and culture developed.
of Chekhov's Black Monk (1988), filmed by former Tarkovsky's cameraman Vadim Yusov. Although The Black Monk received a special prize for visuals at the Venice film festival, Dykhovichny could hardly be called an original artist. A smart and capable imitator, he is not a commander of style but rather its slave, tense and dependent on Tarkovsky's legacy. Sergei Solovyev, free of any internal restraint and addictive influence, is more proficient in his exercises in style. He made his name in the
that flash out here and there on the periphery of perception read as obstacles on the way to interpretation. Not to seem totally negative, I must note that the casting is accurate and, in addition, the two main characters are played by the same actor: not bad! Nonetheless, too much energy has been wasted in unearthing the graves, literally and figuratively. After all, Repentance satisfies the current social order to a considerable extent, for the film is spectacular and politically sharp.
of certain tastes and ideas, myths and stereotypes, it seems to have everything Ryazanov's audience requires today. But Ryazanov's old myths worked primarily because they meant more than what was said directly. Now the situation is quite the opposite. All there is to A Forgotten Tune can be read about in the newspapers, only there the news is hotter and sharper. The old "air" has evaporated, and the new one has not yet condensed. The "scherzo - suite - nocturne" structure has turned into an
that in our film industry, some artistic standard has evolved that appears in some current films as well as in the film-thinking. This standard is shaped by several common cultural traditions and the peculiarities of the film industry and film education in the Soviet Union. Particular to our cinema is the firm reluctance to divide film production into the two categories used widely abroad. Films in the West tend to either commercial or artistic quality, whereas between these opposites, there is a
postmodernism, postmodern, 4, 35, 86, 89, 92, 94, 145 Post-Political Cinema, The, 42 postpunk culture, style, 39, 125-7, 133 Pravda, 27, 37 Prayer, The, see Supplication Premiere magazine, 6, 8 Priemykhov, Valery, 81 Priestley, J. B., 149 Prishvin's Paper Eyes, 33 Promised Sky, The, 77, 150 Prophecy, The, 150 Proposal, The, 151 Proshkin, Alexander, 81, 83, 86, 149 Proust, Marcel, 37, 91 Pshavela, Vazha, 147 punk culture, style, 39, 55 Pushkin, Alexander, 2, 7, 32, 91, 151 Put In a Word For a Poor