End of the late 80s. Russia is at the turning point of it’s history. Everything around transforms into something new: the political structure, the lifestyle, and the way of thinking. At these new times people get opportunity to read books, which had been only passed under the cloud of a night before. One of those books is Bulgakov’s Heart of a Dog. Almost immediately after the book’s publication, director Vladimir Bortko makes a screen version of Heart of a Dog. It is considered one of the best adaptations of Bulgakov’s works, and is widely praised in public. Popularity of this adaptation is not accidental. The movie Heart of a Dog is showed through the eyes of a person from 80s. The person who is fed up with proletarian oppression and who craves for the future, which is free from communism. Bortko supports public moods and creates basically anti-communism movie. In pursuit of the approval of a crowd, the director produces distorted adaptation of Bulgakov’s story. It is can be explained with consideration on how political situation and the spirit of a society influences screen adaptation of the book. The story Heart of a Dog brings us to the flat of an outstanding surgeon of 20s, Philip Philipovich Preobrashenzky, who makes money by rejuvenation operations. One day he decides to experiment with his work on restoring youth by injecting hypophysis of a dead man into the brain of the stray dog Sharik. However, everything goes completely wrong when Sharik starts to turn into human. Unexpected transformation leads to an arrogant and ungrateful person Poligraf Poligrafovich Sharikov. He is rude with people, drinks a lot, harasses women, and with all that is firmly convinced in his rightness. Sharikov gets acquainted with the prolet... ... middle of paper ... ...ой контрреволюции." http://scepsis.net. Скепсис, 2005. Web. 18 Mar. 2014. Кудрявцев, Сергей. "Историко-революционный трагифарс с элементами фантастики." 3500 рецензий. Москва: Печатный двор, n.d. N. pag. Кинопоиск. Web. 19 Feb. 2014. Шигарева, Юлия. "Владимир Бортко: «Человечество придет к социализму. Или умрет!»." Аргументы и Факты : объясняем, что происходит. АИФ, 27 Nov. 2013. Web. 18 Mar. 2014. Яблоков, Евгений. "Беспокойное Собачье Сердце, или Горькие Плоды Легкого Чтения." Review. Литературная Критика Oct. 2010: n. pag. http://magazines.russ.ru. Журнальный зал, Oct. 2010. Web. 19 Feb. 2014. Янкова, Татьяна. "Автор и герой в «Собачьем сердце»." Скепсис. Научно-просветительский журнал Скепсис, 26 Oct. 2006. Web. 19 Feb. 2014. Cornwell Neil, and Nicole Christian. Bulgakov. Reference Guide to Russian Literature. London: Fitzroy Dearborn, 1998. 203-04. Print.
Tucker, Robert C. "The Mortal Danger". Course Reader for World Culture: Russia Since 1917. New York University, Spring 2001.
Moss, W., 2014. A History of Russia Volume 2: Since 1855. 1st ed. London, England: Anthem Press London, pp.112-113.
Hadji Murat, Tolstoy’s second book with the Caucasus as its setting can be considered a work of historical fiction that is a beautiful tale of resistance, and a window into not only the Caucasian War of the mid-nineteenth century, but also the culture of the Russian Empire during this period. As a work of fiction the reader must be wary of depictions of actual persons such as Tsar Nicholas I, whom Tolstoy was not enamored with, to say the least, but many insights about the period and its people can be gleaned from the story. The novel is one of great contrasts between Chechens and Russians and also of what life was like during this time.
The Bolshevik Revolution was a defining turning point in Russian history. This overall revolution consisted of two individual revolutions in 1917 which resulted in the overthrow of the Tsarist government and the formation of a socialist society led by Vladimir Lenin’s radical Bolsheviks. For a moment with such enormous weight like the Bolshevik Revolution, there will be various interpretations on the true results of that moment and the meaning and value of these results. The film Man with a Movie Camera deals with the results of the Bolshevik Revolution and the early Soviet Society it birthed as it utilizes footage of one day in this early Soviet Union, thus making it worthy of examination. In the film Man With a Movie Camera, Vertov impressively
The short story, “Ivan Fyodorovich Shponka and His Aunt”, explicates the life of a man named Ivan Fyodorovich Shponka. We see him briefly in his young years, followed by his life in the army, and his return to the farm where his strong characterized aunt resides. We can see immediately that this man lives in constant cleanliness and dutiful paranoia; these are some of his desires that he wishes to exhibit to others. We can also see his fears, which reside in the confiscation of his masculinity and independence. This short story has many elements that resemble others in the Nikolai Gogol collection.
Whiteside Limited, TO 1987 pp 294 12. Torchinsky, Oleg. Cultures of the World: RussiaNorth Bellmore: Marshall Cavendish Corp. 1994 pp 310 13. Troyat, Henri.
middle of paper ... ... --------------------- [1] Moscow, encyclopedia britannica p.358 [2] merriam-webster on line [3] campbell scott, draft [4] p.350 [5] colton p.28 [6] volkov p.42 [7] sunlight at midnight p. 270 [8] volkov p.48 [9] Britannica p.1043 [10] Lincoln p.270 [11] id. P.315 [12] colton p. 2 puis 15 [13] colton p.36 [14] colton pp.18-21 [15] Britannica p.351 [16] p. 29 [17] volkov p.15 [18] daniels [19] colton p.14 [20] lincoln p.31 [21] colton p.32 [22] lincoln p.121 [23] volkov p.9 [24] volkov p.452 [25] lincoln 350 [26] volkov 210 [27] shaw p. [28] volkov 338 [29] colton 326 [30] volkov 22 [31] lincoln 305 [32] lincoln 348 [33] volkov 49 [34] volkov 31 [35] lincoln 123
Brown, William Edward. ed. Critical Essays on Mikhail Lermontov. Boston: G. K. Hall & Co., 1997.
Wood, A. (1986). The Russian Revolution. Seminar Studies in History. (2) Longman, p 1-98. ISBSN 0582355591, 9780582355590
...s appeared not so much to matter as the fact that he developed new techniques, devised camera approaches and sought always to bring out the potential of a still developing form. That he forgot--or overlooked--to bring the Marxist message to one of his films two years ago brought him that fatal kiss of all--the accusation from the authoritative Soviet magazine, Culture and Life, that his productions had been short on the prescribed Soviet requirement of art and interpretation of history” ("Sergei Eisenstein is Dead in Moscow”, New York Times, 1948) . In film, Eisenstein was known for his development of the montage sequence, his unusual juxtapositions, and his life-like imagery. In life he was known for his propaganda and belief in the plight of the working class. Eisenstein left an inevitable mark on his community, his time, the shape of a sub-culture, and his art.
In the end, Russian has a great culture and a great and proud people. In this topical paper, I went over a brief history of Russia, the 3 of the major religions in Russia, custom and curtesies, a brief economic history and 3 branches of the military.
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).
How did Russia often express itself during times of censorship and control? Literature. Despite being written during the times of Tsars and Imperialists, works like Nik...
Riasanovsky, Nicholas V., and Mark D. Steinberg. A History of Russia. 7th ed. Oxford: Oxford, 2005. Print.
Soviet cinematographer Sergei Eisenstein argues that the basis of cinema is dialectical montage. In his article “A Dialectical Approach to Film Form”, Eisenstein explains dialectics as “a constant evolution from the interaction of two contradictory opposites” (45). These opposites synthesize and form a new thesis, which then may also be contradicted. Eisenstein employs dialectical montage in his films due to its ability to invoke change, an important goal in a revolutionary society. His film Battleship Potemkin is designed to display this theory and create a psychological change within his audience, corresponding to his revolutionist ideals.