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Ivan the Terrible
Ivan The Terrible (1944/46) was envisaged by its director, Sergei Eisenstein as a trilogy. But, Eisenstein died before begining the third part. Part One had been a resounding success, winning a Stalin prize, but Part Two met with the Kremlin's disfavour and was eventually banned until 1958. Using research gathered from Soviet archives, Yuri Tsivian offers an insight into Eisenstein's grand project. He reconstructs the director's 'mental film' that underlies the finished work. The book attempts to follow the train of thought that connect the aesthetic construction and visual design of the film to Eisenstein's knowldege of iconography and painting, psychoanalysis and philosophy, Shakespeare and Balzac - and much more.
Early Cinema in Russia and its Cultural Reception
In Early Cinema in Russia and its Cultural Reception Yuri Tsivian examines the development of cinematic form and culture in Russia, from its late nineteenth-century beginnings as a fairground attraction to the early post-Revolutionary years. Tsivian traces the changing perceptions of cinema and its social transition from a modernist invention to a national art form. He explores reactions to the earliest films, from actors, novelists, poets, writers, and journalists. His richly detailed study of the physical elements of cinematic performance includes the architecture and illumination of the cinema foyer, the speed of projection and film acoustics. In contrast to standard film histories, this book focuses on reflected images: rather than discussing films and film-makers, it features the historical film-goer and early writings on film. Early Cinema in Russia and its Cultural Reception presents a vivid and changing picture of cinema culture in Russia in the twilight of the tsarist era and the first decades of the twentieth century. Tsivian's study expands the whole context of reception studies and opens up questions about reception relevant to other national cinemas.
Lines of Resistance
"This book is a collection of little-known writings by and about Dziga Vertov. It follows the development of his work and opinions from 1917 to 1930, and chronicles contemporary reactions to them - from critics whose names are now forgotten, as well as such prominent personalities as fellow directors Lev Kuleshov and Sergei Eisenstein, artists Aleksandr Rodchenko and Kazimir Malevich, and theorists Walter Benjamin and Siegfried Kracauer." --Book Jacket.
Early Cinema in Russia and Its Cultural Reception
In Early Cinema in Russia and its Cultural Reception Yuri Tsivian examines the development of cinematic form and culture in Russia, from its late nineteenth-century beginnings as a fairground attraction to the early post-Revolutionary years. Tsivian traces the changing perceptions of cinema and its social transition from a modernist invention to a national art form. He explores reactions to the earliest films, from actors, novelists, poets, writers, and journalists. His richly detailed study of the physical elements of cinematic performance includes the architecture and illumination of the cinema foyer, the speed of projection and film acoustics. In contrast to standard film histories, this book focuses on reflected images: rather than discussing films and film-makers, it features the historical film-goer and early writings on film. Early Cinema in Russia and its Cultural Reception presents a vivid and changing picture of cinema culture in Russia in the twilight of the tsarist era and the first decades of the twentieth century. Tsivian's study expands the whole context of reception studies and opens up questions about reception relevant to other national cinemas.
A Second Life
In the Beginning: Recollections of Software Pioneers records the stories of computing's past, enabling today's professionals to improve on the realities of yesterday. The stories in this book clearly show that modern concepts, such as data abstraction, modularity, and structured approaches, date much earlier in the field than their appearance in academic literature. These stories help capture the true evolution. The book illustrates human experiences and industry turning points through personal recollections by the pioneers ... people like Barry Boehm, Peter Denning, Watts Humphrey, Frank Land, and a dozen others.
Machine-Age Comedy
In this latest addition to Oxford's Modernist Literature & Culture series, renowned modernist scholar Michael North poses fundamental questions about the relationship between modernity and comic form in film, animation, the visual arts, and literature. Machine-Age Comedy vividly constructs a cultural history that spans the entire twentieth century, showing how changes wrought by industrialization have forever altered the comic mode. With keen analyses, North examines the work of a wide range of artists--including Charlie Chaplin, Walt Disney, Marcel Duchamp, Samuel Beckett, and David Foster Wallace--to show the creative and unconventional ways the routinization of industrial society has been...
Silent Cinema and the Politics of Space
In this cross-cultural history of narrative cinema and media from the 1910s to the 1930s, leading and emergent scholars explore the transnational crossings and exchanges that occurred in early cinema between the two world wars. Drawing on film archives from around the world, this volume advances the premise that silent cinema freely crossed national borders and linguistic thresholds in ways that became far less possible after the emergence of sound. These essays address important questions about the uneven forces–geographic, economic, political, psychological, textual, and experiential–that underscore a non-linear approach to film history. The "messiness" of film history, as demonstrated here, opens a new realm of inquiry into unexpected political, social, and aesthetic crossings of silent cinema.
Masterpieces of Modernist Cinema
Noted film scholars analyze some of the most challenging films of the 20th century
Ostrannenie
Summary: Defamiliarisation or ostrannenie, the artistic technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar, ihas become one of the central concept of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the Soviet literary critic Victor Shklovskii in 1917, ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the French philosopher Derrida's concept of differance, bordering on 'differing' and 'deferring'. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry.
The Magic Mirror
Youngblood provides a cultural perspective of an era traditionally viewed through a revolutionary lens, exploring how films and the film industry illuminate and reflect the popular attitudes of a turbulent time.
