Nabokov in Motion: Modernity and Movement by Yuri Leving
In: The Slavonic and East European review: SEER, Band 100, Heft 4, S. 751-753
ISSN: 2222-4327
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In: The Slavonic and East European review: SEER, Band 100, Heft 4, S. 751-753
ISSN: 2222-4327
In: Slavic review: interdisciplinary quarterly of Russian, Eurasian and East European studies, Band 81, Heft 4, S. 1127-1129
ISSN: 2325-7784
In: Slavic review: interdisciplinary quarterly of Russian, Eurasian and East European studies, Band 78, Heft 2, S. 519-522
ISSN: 2325-7784
In: Slavic review: interdisciplinary quarterly of Russian, Eurasian and East European studies, Band 78, Heft 4, S. 1098-1099
ISSN: 2325-7784
In: Slavic review: interdisciplinary quarterly of Russian, Eurasian and East European studies, Band 77, Heft 3, S. 853-854
ISSN: 2325-7784
In: Slavic review: interdisciplinary quarterly of Russian, Eurasian and East European studies, Band 77, Heft 1, S. 304-305
ISSN: 2325-7784
In: The Slavonic and East European review: SEER, Band 95, Heft 4, S. 755-757
ISSN: 2222-4327
In: Slavic review: interdisciplinary quarterly of Russian, Eurasian and East European studies, Band 74, Heft 2, S. 426-427
ISSN: 2325-7784
In: Slavic review: interdisciplinary quarterly of Russian, Eurasian and East European studies, Band 73, Heft 3, S. 693-694
ISSN: 2325-7784
In: Slavic review: interdisciplinary quarterly of Russian, Eurasian and East European studies, Band 70, Heft 4, S. 919-920
ISSN: 2325-7784
In: Slavic review: interdisciplinary quarterly of Russian, Eurasian and East European studies, Band 64, Heft 1, S. 43-58
ISSN: 2325-7784
In this close analysis of Aleksandr Sokurov's 2002 film Russkii kovcheg (Russian ark), Tim Harte explores the interplay between the medium of painting and cinema in this unprecedented ninety-minute single-shot film set in the grand halls and galleries of the Hermitage Museum. As Harte argues, the film's unique premise and setting allow Sokurov to convey how the museum, its art and history, and subsequently cinema can affirm a nation's culture, transporting die past ever so evocatively into the present in order to sustain culture's vitality. Throughout Sokurov's ninety-minute single-shot fusion of Western art and Russian history, a continual emphasis on the image of the frame prevails, with the frame constituting an important artistic and metaphysical threshold for the filmmaker. Constandy moving through the ubiquitous frames, Sokurov establishes his own cinematic rendering of culture's eternal essence.
In: Contemporary Russia & Eastern Europe
"This book explores a new character archetype that permeated Soviet film during what became known as the era of Stagnation, a stark period of loneliness, disappointment, and individual despair. This new type of character was neither negative nor positive, but nevertheless systematically undermined Soviet norms of behaviour, hairstyle, dress, lifestyle, and perspective, in stark contrast to Socialist Realism's traditional, positive hero who fought for Soviet values and who vanquished the enemies of socialism. The book discusses a wide range of films from the period, showing how the new antiheroic archetype of Stagnation resonated through a multitude of characters, mostly male, and vividly reflected the realities of Soviet life. The book thereby provides great insight into the lives, outlook, and psychology of citizens in the late Soviet period"--
In: Canadian Slavonic papers: an interdisciplinary journal devoted to Central and Eastern Europe, Band 52, Heft 3-4, S. 427-501
ISSN: 2375-2475