![]() You should write no more than 1,800 words.Įssays will be due for submission at the start of the Easter term (the precise date and time to be announced in due course.)Īnswer TWO questions. ![]() The examination will consist of TWO parts:Īnswer ONE question from a list that will be released at the end of Lent term. At least one answer must be comparative across the works of at least two Russian, Soviet, and/or post-Soviet filmmakers.įor each answer you should write no more than 1,300 words. At least one answer must focus on the works of a single director whose films were produced in Russia, the Soviet Union, or one of the republics of the former Soviet Union. Students who intend to take the course may contact the course convenor to request early enrolment in the site over the summer.Īnswer three questions. The course is supported by a Moodle site, where students will find links to learning resources, recommended readings and online versions of some films. Filmmakers to be discussed include Aleksei German (Moi drug Ivan Lapshin), Aleksei Balabanov (Brat, Gruz 200), Andrei Zviagintsev ( Vozvrashchenie, Leviafan), Kira Muratova ( Astenicheskii sindrom, Nastroishchik), Vasilii Sigarev ( Volchok), Aleksandr Sokurov ( Krug vtoroi, Telets) and Sergei Loban ( Shapito-Shou). This module addresses the principal trends and figures in Russian filmmaking from the glasnost’ era through the present. Filmmakers to be discussed include Mikhail Kalatozov (Letiat zhuravli), Marlen Khutsiev (Mne 20 let, Iul’skii dozhd’ ), Sergei Bondarchuk (Sud’ba cheloveka), Larisa Shepitko ( Kryl’ia), Grigorii Chukhrai ( Ballada o soldate), Kira Muratova (Korotkie vstrechi, Dolgie provody) and Andrei Tarkovskii ( Ivanovo detstvo, Andrei Rublev)ĥ) Russian Cinema from Perestroika to the Present: ![]() This module investigates the ways in which Soviet cinema rebelled against the thematic and stylistic constraints of the Stalin era in a range of extraordinary films released between 19. Filmmakers to be discussed include Vasil’ev Brothers (Chapaev), Grigorii Aleksandrov ( Tsirk, Volga-Volga), Ivan Pyr’ev ( Traktoristy), Mikhail Romm ( Lenin v oktiabre), Semen Timoshenko (Nebesnyi tikhokhod), Mark Donskoi (Nepokorennye) and Mikhail Chiaureli ( Padenie Berlina)Ĥ) Soviet Cinema After Stalin: Rewriting the Past, Confronting the Present This module examines the ways in which Soviet filmmakers sought to ‘catch up and overtake’ Hollywood in the musicals, melodramas, romantic comedies and war films that were popular in the 1930s and 1940s. Works to be studied include Eisenstein’s Bronenosets Potemkin (1927) and Ivan Groznyi (1944-1946) Dovzhenko’s Zemlia (1930) and Ivan (1932) Vertov’s Chelovek s kinoapparatom (1929) and Tri pesni o Lenine (1932).ģ) The Other Soviet Classics: Popular Cinema in the Stalin Era Films will be analysed in the context of each director's theoretical writings and contemporary critical debates. ![]() This module explores the work of the three major figures of the Soviet avant-garde, focusing on the ways in which each navigated the technological and political changes of the 1930s and 1940s. This topic traces the emergence of Soviet avant-garde cinema from pre-revolutionary popular filmmaking in films by Evgenii Bauer ( Grezy), Sergei Eisenstein ( Stachka), Iakov Protazanov ( Aelita), Lev Kuleshov ( Prikliucheniia Mistera Vesta v strane Bol’shevikov), Vsevolod Pudovkin ( Mat’), Grigorii Kozintsev and Leonid Trauberg ( Novyi Vavilon).Ģ) From Silence to Sound: Sergei Eisenstein, Oleksandr Dovzhenko and Dziga Vertov 1) Revolutionary Film Culture: From Boulevard to Avant-Garde
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