Its unique ability to sway the masses has led many observers to consider cinema the artform with the greatest political force. The images it produces can bolster leaders or contribute to their undoing. Soviet filmmakers often had to face great obstacles as they struggled to make art in an authoritarian society that put them not only under ideological pressure but also imposed rigid economic constraints on the industry. But while the Brezhnev era of Soviet filmmaking is often depicted as a period of great repression, Soviet Art House reveals that the films made at the prestigious Lenfilm studio in this period were far more imaginative than is usually suspected.
In this pioneering study of a Soviet film studio, author Catriona Kelly delves into previously unpublished archival documents and interviews, memoirs, and the films themselves to illuminate the ideological, economic, and aesthetic dimensions of filmmaking in the Brezhnev era. She argues that especially the young filmmakers who joined the studio after its restructuring in 1961 revitalized its output and helped establish Leningrad as a leading center of oppositional art. This unique insight into Soviet film production shows not only the inner workings of Soviet institutions before the system collapsed but also traces how filmmakers tirelessly dodged and negotiated contradictory demands to create sophisticated and highly original movies.
Rezensionen / Stimmen
In Soviet Art House, Kelly takes a studio-centric approach to Soviet film history, looking at the Lenfilm Studio from the mid-1960s to the mid-1980s. This studio view provides an opportunity to look beyond common ways in which film historians viewed the Brezhnev years. * A. H. Chapman, CHOICE * This deeply researched work is an extraordinarily innovative contribution to Soviet film studies. Kelly not only provides us with a comprehensive study of a vitally important film studio, one crucial to Soviet cultural endeavors, or pretensions, she also demonstrates how novel many of their offerings were. * Steven A. Usitalo, Slavonic and East European Review * There is nothing more difficult than writing about a past that has yet to become history. This richly-researched and truly outstanding book, written with zest and elegance, tells the story of the Lenfilm studio. Through art house Soviet cinema it immerses us in the Brezhnev era, as it opens up the door to the world of Soviet sensitivity and imagination to allow us to understand how the Soviet era was exhausted and why it ended. * Evgeny Dobrenko, the author of Late Stalinism: The Aesthetics of Politics * In the years of Stagnation, Lenfilm studio was one of the symbols of artistic freedom in the USSR - with reservations, of course. Yet, there has not been a scholarly monograph dedicated to this seminal page in the history of Soviet culture - neither in Russia, nor outside the country. Catriona Kelly's book fills this deplorable gap. But, as a genuine work of history, it covers much more than that. It is a meticulous and pioneering study of the mechanics of Soviet film production, of the cultural politics in the murky period that would eventually lead to the collapse of the Union. But first and foremost, it is a tribute to some of the best films ever produced in one of the leading filmmaking countries, and to the filmmakers with their inevitably dramatic biographies. * Peter Bagrov, George Eastman Museum * To embark on making an art house movie under Brezhnev, the author shows with the clarity and insight of someone who spent years on studying the Lenfilm studio papers, was tantamount to submitting one's creative will to a variety of whims and whips-institutional and ideological. Every chapter in Kelly's book devoted to this or that art film reads like a perilous journey that ends in a miraculous survival. * Yuri Tsivian, University of Chicago *
Sprache
Verlagsort
Zielgruppe
Produkt-Hinweis
Broschur/Paperback
Klebebindung
Illustrationen
90 illustrations and production stills
Maße
Höhe: 254 mm
Breite: 175 mm
Dicke: 35 mm
Gewicht
ISBN-13
978-0-19-754837-0 (9780197548370)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Catriona Kelly is Professor of Russian at the University of Oxford and a leading historian of Russian culture and society. She is the author of numerous books on Russian modernism, gender history, the history of childhood, national identity, and the recent history of Leningrad/St Petersburg, some of which have been translated into Russian.
Autor*in
Professor of RussianProfessor of Russian, University of Oxford
Preface and Acknowledgments
Terminology, Abbreviations, and Transliteration
List of Illustrations
Introduction: The Art House
Chapter 1. Big Hopes and Trouble, 1961-1969
Chapter 2. "Serious" Movies and the Box Office, 1970-1985
Chapter 3. The Cinema-Centaur: Lenfilm as Film Factory
Chapter 4. Non-Existent Reality: The Lenfilm Aesthetic
Chapter 5. Pleasure and Danger: Yuly Fait, A Boy and a Girl (1966)
Chapter 6. The Indifference of Time: Gennady Shpalikov, A Long Happy Life (1967)
Chapter 7. Regulated Immediacy: Viktor Sokolov, A Day of Sunshine and Rain (1967)
Chapter 8. More in Expectation than Hope: Naum Birman, Chronicle of a Divebomber (1968)
Chapter 9. Cold War Fears: Savva Kulish, The Dead Season (1968)
Chapter 10. Personal Happiness: Vitaly Melnikov, Mother's Got Married (1969)
Chapter 11. Trust in Talent: Ilya Averbakh, Monologue (1972)
Chapter 12. Spontaneous Music: Dinara Asanova, Woodpeckers Don't Get Headaches (1974)
Chapter 13. Fervor and Tenderness: Gleb Panfilov, May I Speak? (1976)
Chapter 14. Private Grief, Public Mourning: Sergei Mikaelyan, The Widows (1977)
Chapter 15. Ludic Love: Kira Muratova, Getting to Know the Wide World (1978)
Chapter 16. Cast a Cold Eye: Boris Frumin, Errors of Youth (1978)
Chapter 17. Socialist Embarrassment: Viktor Tregubovich, Go If You're Going (1978)
Chapter 18. The Powers of Irony: Igor Maslennikov, The Queen of Spades (1982)
Chapter 19. Hystoria: Aleksei German, My Friend Ivan Lapshin (1984)
Conclusion: Arthouse Beyond the Art House
Filmography
