Introduction: During the decades of Soviet rule in Russia the field of cinema was undeniably defined by the role that the state played in filmmaking, as the Soviet government had long used cinema as a means to expose the general public to Soviet ideology. However, following the collapse of the Soviet Union in 1991 the role of the state in filmmaking changed drastically, as filmmakers were now able to have true artistic freedom. As a result, many assumed that Russian cinema would be revolutionized, as some films evolved towards being more “American” in nature, with a higher tendency to be centered around action sequences or artistic statements by directors. One of the most notable of which is Aleksandr Sokurov’s 2002 classic Russian Ark, which re-enacted hundreds of years of Russian and Soviet history. And, as evidenced by the film’s glamorous portrayal of Russian history, …show more content…
As they begin to walk around together the “European” refuses to believe the narrator’s claim that they are actually in Russia, insisting that some of the dresses the women are wearing and the theatrical production that they are watching has to be from some European country like Italy, or France. The “European’s” disbelief continues throughout the film, as he routinely refuses to accept the narrator’s statements that he is in fact in a Russian palace, not a European one. However, in the final scene of the film, where the audience witnesses an extravagant grand ball complete with a full orchestra and the dancers in spectacular costume, the “European” finally comes to accept that the palace he has been walking through is indeed Russian. After realizing how little he knows about Russian culture, he chooses to stay behind on the so-called “ark” preserving it, so that he can truly appreciate it in all its
This point is illustrated by the heated controversy surrounding the director’s Lifetime Achievement Award, which was presented to him at the 1999 Academy Awards. Kazan’s importance to the world of cinema is undisputed, but Hollywood remains divided by a single political affair that took place over half a century ago. The Academy Award was therefore protested by some and supported by others. But should Elia Kazan still be regarded with such contempt by his peers and contemporary members of the Hollywood community? Should his legacy be based on this one transgression, rather than his long history of cinematic achievement? And has Kazan already put the entire subject to rest in On the Waterfront, perhaps the best work of his entire career? I hope to answer these questions in an essay that will discuss the t...
Nabokov's most consistent reaction to popular films in their public context is his awareness that the film image... is overwhelming in its insistent claim to presence and, as a consequence, to truth. But in formula films perceived uncritically or absorbed inertly, film tends to displace... what is really important in life and to impose its own schematic simplifications upon life's teaming and idiosyncratic details. (62)
Anti-communism influences the films produced, films portrayed communism as evil and immoral. The films during the Cold War certainly portrayed the political storm between the progressive left and the conservative right. Films such as Ninotchka in 1939, showed anti-communism, guilty of Treason 1949, showed an attack against communism, exploiting the evils of communism was shown in Docudrama. The Red Menace in 1949 showed the immense threat of communism.
The third movie we watch was Man With a Movie Camera, (1929), which was out of the three, my favorite piece. It was an artsy film that was described as "a stunning avant-garde, documentary meta-narrative that celebrates Soviet workers and filmmaking." The film uses radical editing styles, and brand new techniques and camera angles, making it a beautiful piece of art.
Just to the east of riotous, industrialising Western Europe sat Imperial Russia, pendent between tradition and modernity, a vast empire of duality. As if trying to vent her frustrations, 19th century Russia produced a selection of history's finest writers; each writer packing their work with themes of duplicity, hope, and heavy social criticism.
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.
However, in stark contrast to The General, other films were being made around the world that did not follow a simple Hollywood structure, but rather were more experimental with what a movie could be. Man With a Movie Camera (1929), a very ahead of its time, utilized a completely different style of filmmaking that resonated strongly with the ideals of the Soviet Union. Thus, Man With a Movie Camera sought out to make the everyday people of the Soviet Union the stars of the film. This idea was completely revolutionary as well, and almost by necessity, introduced a new style of editing to fit the story—or rather the documentation—that director Dziga Vertov was trying to tell.
Russia culture is very different from any other culture that I have ever read about. This is a country that is dominated by males. Males actually run the county of Russia. The men are so dominated that every Russian women dream is to be married and have a family with these men. Russia is known for its poor society. In the book Sakharov he mentions how he moved from one place to another. He first was in Moscow’s larger apartments with his family. In this apartment there were six families. With thin the six families they had to share the kitchen and the bathroom. Then he states that he moved into a very old house and in this old house there was a leaking ceiling. With in this house there were still six families that shared everything. (Sakharov 24-25)
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).
Before analyzing the film, we must understand the general background of the story and its major characters. From Russia with Love, utilizes several tactics to evoke emotional
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
The Arts play a large role in the expression of inner thoughts and beauty in life. From dance and music to art the concept of life is shown through the various ways in which we interpret it. The arts play a valued role in creating cultures and developing and documenting civilizations. Russia has been developing the its culture for as long as anybody could think. Nowadays, Russian painters and musicians are quickly becoming well known among each and every one around the world. It should be no surprise that the rich Russian culture is producing so much talent, and everyone around the world seems to enjoy it. Great artists such as Peter Ilich Tchaikovsky (music), Valery Yakovlevich Bryusov (literature), and Marc Chagall (art) have shared Russia’s culture with the rest of the world.
Tarkovsky, Andrey. Sculpting in Time: The Great Russian Filmmaker Discusses His Art. Russia: Soviet State Film School. 1986. Print.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
...vement." Cold War Culture: Media and the Arts, 1945–1990. New York: Facts On File, Inc., 2000. American History Online. Facts On File, Inc. Web. 2 May. 2011.