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soviet-cinema

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Journal Articles
Feminist Media Histories. 2016; 2311–28 doi: https://doi.org/10.1525/fmh.2016.2.3.11
Published: 01 July 2016
...Anastasia Kostina; Liubov Dyshlyuk An unsurpassed master of compilation cinema, Esfir Shub is a major figure in the history of Soviet film. Shub's concept of film editing emerges clearly in the four articles that are presented here for the first time in English. They are selected from Zhizn' moya...
Journal Articles
Feminist Media Histories. 2019; 5111–38 doi: https://doi.org/10.1525/fmh.2019.5.1.11
Published: 01 January 2019
... small but growing. May Adadol Ingawanij has two forthcoming essays: “Nguyễn Trinh Thi's Essay Films” and “The Essay Film as Feminist Cinema in Southeast Asia: Nguyễn Trinh Thi and Anocha Suwichakornpong.” Laura Rascaroli, How the Essay Film Thinks (Oxford: Oxford University Press, 2017), devotes a...
Journal Articles
Feminist Media Histories. 2016; 231–10 doi: https://doi.org/10.1525/fmh.2016.2.3.1
Published: 01 July 2016
... Even the origins of this peculiar mode of film production are tied to a woman's name, that of Esfir Shub, the great director of Soviet cinema who was the first to create an essayistic feature by putting together pieces of archival footage. 2 Her seminal film of 1927, Padenie Dinastii Romanovykh...
Journal Articles
Feminist Media Histories. 2016; 2329–53 doi: https://doi.org/10.1525/fmh.2016.2.3.29
Published: 01 July 2016
... “something quite different than a return to the old primacy of montage over decoupage as taught by early Soviet cinema.” Moreover, his reference to Astruc's concept of the camera pen, or caméra-stylo , excludes any intention to reduce her technique to a sheer refinement of classical Hollywood editing styles...
Journal Articles
Feminist Media Histories. 2016; 2354–72 doi: https://doi.org/10.1525/fmh.2016.2.3.54
Published: 01 July 2016
... her theoretical framework, particularly based on Antonio Gramsci and the theories of the Soviet avant-garde, which confirms her commitment to a revolutionary project. Together, all of these aspects portray a woman filmmaker who was able to develop a counterhegemonic approach to cinema within a...
Journal Articles
Feminist Media Histories. 2016; 21120–134 doi: https://doi.org/10.1525/fmh.2016.2.1.120
Published: 01 January 2016
... recent. … kg: Yes. Look at the work that is done at the EYE Filmmuseum. They started this in Europe, when they looked at their materials. It was just incredible. If you remember the first retrospectives at Pordenone, there was Soviet cinema (Russian cinema, then), Swedish cinema. … It had not been...
Journal Articles
Feminist Media Histories. 2016; 21154–174 doi: https://doi.org/10.1525/fmh.2016.2.1.154
Published: 01 January 2016
... Portici was featured at Il Cinema Ritrovato in 2015. 4. Bryher [Annie Winifred Eleman], Film Problems of Soviet Russia (Territet: POOL, 1929). 5. See the carbo-lamp projections at the Piazzetta Pier Paolo Pasolini of Assunta Spina (dir. Gustavo Serena, 1915) and “The Velle Collection, 1900...
Journal Articles
Feminist Media Histories. 2015; 1366–94 doi: https://doi.org/10.1525/fmh.2015.1.3.66
Published: 01 July 2015
... shifting cultural terrain. As usual, the film is “shown” in the dark. But the cinema has shrunk somewhat—only two hands fit inside it. To see (i.e., feel, touch) the film, the viewer (user) has to stretch his hands through the entrance to the cinema. At last, the curtain which formerly...