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Essay on russian culture
Essay on russian culture
Essay on russian culture
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The Culture and Poetry Tarkovsky’s Solaris
The film Solaris directed by Andrei Tarkovsky is an important artifact of Russian culture, poetry, and art. The significance of poetry and art is deep rooted and reflective of Russia’s special place in the world. Depth and meaning come from where the uniqueness of Russian culture coincides with the messages Tarkovsky communicates through the film. More so than other films, Solaris deals with the existential questions of the period in a context that has remained relevant to this day. Andrei Tarkovsky’s Solaris is a philosophical work that -- in the context of Russian raw and unadulterated contradiction -- creates an environment conducive to deep introspection. Solaris should be appreciated as cinematic poetry, not just as a classic Russian film.
The movie begins with Kris Kelvin walking by a lake outside his family home. He is preparing to travel to the space station orbiting the planet Solaris, which has been studying the planet for many decades. The crew has dwindled down to three scientists, Dr. Gibarian, Dr. Sartorius and Dr. Snaut. Kelvin’s assessment of the space station will determine whether or not it will remain in orbit. He and his father are visited by Henri Berton, a disgraced former resident of the Solaris station. They watch a footage of Berton’s account of his expedition to the planet in search of two missing scientists, in which he describes a fantastical scene formed within the ocean; including a claims of having seen a four-meter-tall child sitting on the sea. Berton’s testimony is dismissed by the committee as a hallucination, thought to have been caused by the intelligent and sentient Solaris, and Kris similarly disregards it. In their final conversation, made ev...
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...ussia will not be happy if it continues on it’s current path of modernity at the expense of humanistic feelings.
Solaris first appears to be a slow-paced movie of little entertainment value, but a deeper examination reveals it to be a work of cinematic poetry. Upon looking for meaning in the negative spaces, the artistic and philosophical value forms the framework for introspective and metaphysical questioning. Seeking to understand the mechanisms of the film reveals potential flaws in the fundamental way in which humanity understands and asserts itself upon the world. Developing an appreciation for Tarkovsky’s unique style of cinematic composition can provide a rewarding and intellectually stimulating experience. However, to truly appreciate any single piece of Russian artistry, one must experience and reflect on the cultural foundations upon which it was built.
One thing that ties humanity together is complications. Remember a time where you were facing great predicament and you essentially had nothing, but your beliefs. Did you manage to push through? Code Talker, a book written by Joseph Bruchac, is based on a young Navajo boy who endures great difficulties to assist his tribe and help in World War II. His capacity of tolerance is immeasurable and it is all due to holding onto what he believes. There was a quantity of obstacles in his way such as the mistreatment he received in Navajo mission school, the fighting he did in the war, and the continued mistreatment after the war. Although these challenges proposed the idea of giving up what you believe in and following the dominant society, Ned(the
It was a freezing January day in the city of Archangelsk, Russia. A man by the name of Dmitri Shostakovich picked up the newest issue of Pravda from the newsstands, which were unusually busy today. “Wow, this is really harsh!” “Are Pravda’s expectations THAT high?” people whispered to one another. After reading it briefly, Shostakovich flew into a fit of frustration and rage. This paper called his music “degenerate and decadent” (Stevens)! There is no way that Pravda would trash his music as badly as this. In fact, the article was written under orders by an upset Josef Stalin. These two Russian titans impacted Russia’s culture between 1930 and 1950. They absolutely hated each other! The tension between the two radiated throughout Shostakovich’s music and Stalin’s iron-fisted attitude towards his symphonies. Stalin manipulated composers to the point of suicide for defying his wishes, and he was not afraid to do that to Shostakovich. Somehow, Shostakovich dared to resist Stalin’s evil ways and went on to become a “brilliant and internationally famous composer.
During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative. Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six minutes help set up a distinct stylistic premise. In contrast to a novel or play, the sequence in Don’t Look Now is only accessible through cinema because it allows the viewer to interact with the medium and follow along with the different camera angles. The cinematography and music also guide the viewer along, and help project the characters’ emotions onto the audience because they change frequently. The film techniques and choppy editing style used in Don’t Look Now convey a sense of control of the director over the audience and put us entirely at his mercy, because we have to experience time and space as he wants us to as opposed to in an entirely serial manner.
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
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)
The many debates about art cinema versus classical cinema have been going around for a while. The mainstream Hollywood classical film and the art cinema are frequently presented as opposites. In one, the style of the film is bland, while the other seeks to center its focus on the visual becoming central as narrative unity. Throughout the movie directed by Stanley Kubrick called 2001: A Space Odyssey, we see that this film can be classified as an art film. On the other hand, it can also be seen as classical film. Even though these two are the complete opposite and they contradict themselves, they are both apparent in the film.
The last decade witnessed a spate of films, all concerned with the confusion between life and the imitations of life, the media. The ingenious “Capitan Fracasse”, “Capricorn One”, “Sliver”, “Wag the Dog” and many lesser films have all tried to tackle this (un)fortunate state of things and its moral and practical implications.
...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.
Gallagher, T. 2002. Senses of Cinema – Max Ophuls: A New Art – But Who Notices?. [online] Available at: http://sensesofcinema.com/2002/feature-articles/ophuls/ [Accessed: 8 Apr 2014].
Introduction Upon my first encounter with Kandinsky's painting, my eyes and indeed my mind were overcome with a sense of puzzlement, as it seemed impossible to decipher what lay beneath his passionate use of colour and distorted forms. Kandinsky hoped by freeing colour from its representational restrictions, it, like music could conjure up a series of emotions in the soul of viewer, reinforced by corresponding forms. Throughout this essay, I will follow Kandinsky's quest for a pure, abstract art and attempt to determine whether his passionate belief in this spiritual art and his theories on its effects on the soul, can truly be felt and appreciated by the average viewer, who at first glance would most likely view Kandinsky's paintings as simply abstract. Kandinsky was indeed a visionary, an artist who through his theoretical ideas of creating a new pictorial language sought to revolutionize the art of the twentieth-century. Regarded as the founder of abstract painting, he broke free from arts traditional limitations and invented the first painting for paintings sake, whereby the dissolution of the object and subsequent promotion of colour and form became means of expression in their own right.
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).
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...
Poetry is not facile subject to understand. Poetry is an art form that can be interpreted various ways. The meaning of each text of poetry relies on the readers, and the author 's emotional state of mind. When poetry is being read, it is not being read for fluency. These reading are to be analyzed and interpreted through an individual’s sight, intellection and sound. According to Louis Zokofsky, “ The test of poetry is the range of pleasure it affords at sight, sound, and intellectual. This is its purpose as art”. These three elements that are being presented by Zokofsky tailor the emotional feelings of pleasure. This settles the understanding of poetic art form.
Everyday, we act as critics, i.e., deciding which film to see or which channel to watch. Much of the time, experience guides us through the aesthetic judgments we make. Left on our own, however, we can go only so far. As Martin and Jacobus (1997) argue, in studying the essentials of criticism and in learning how to put them into practice, we develop our capacities as critics (p. 48).