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SL7:SOVIETANDRUSSIANCINEMA

Courseconvenors2019-20DrEmmaWiddis(ekw1000),Dr.SamGoff(Dr.SusanLarsen(sl545)

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ContentsofHandbook1. Summary 32. TextsandPrimarySources 4 3. TopicOutlines 54. TeachingandLearningOutcomes 125. Lectureschedule(andcoreviewingforlectures) 166. Supervisionscheduleandessaytitles

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THEPAPERThiscourseinvestigatesthehistoryofSovietandRussiancinemafromitsbeginningsintheearly20thcenturythroughthepresent:fromearlysilentcomediesandmelodramastotheemergenceoftheavant-gardeinthe1920s;fromStalinistblockbustersofthe1930sthroughtheSoviet‘NewWave’ofthe1960s;fromthetumultuouschangesoftheglasnost’erathroughthepostmodernchallengesofthepresent.Thepaperencouragesstudentstoexploretheworkofoneormoredirectorsindepth,butitalsoasksstudentstothinkcomparativelyabouttheevolutionoffilmmakingpractices,genresandthemesacrosshistoricalperiodsandchangesinpoliticalregime.ThiscourseisopentostudentsinbothPartIBandPartII;itdoesnotassumeanypriorstudyoffilm,butitstudentswillbeexpectedtoreadawiderangeofcritical,historicalandtheoreticaltexts(inbothEnglishandRussian)asessentialcontextforthefilmsunderdiscussion.Topicsfor2019-20arethefollowing:1.RevolutionaryFilmCulture:FromBoulevardtoAvant-Garde2.FromSilencetoSound:Eisenstein,VertovandtheFactoryoftheEccentric

Actor3.TheOtherSovietClassics:PopularCinemaintheStalinEra4.SovietCinemaAfterStalin:RewritingthePast,ConfrontingthePresent5.RussianCinemafromPerestroikatothePresent

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TEXTSFilmsaretheprimarytextsforthiscourse,supplementedwithexcerpts(inRussian,butoftenwithEnglishtranslations)fromfilmmakers'writingsandcontemporarycriticsresponsestotheseworks.ManybutnotallfilmswillbeavailablewithEnglishorRussiansubtitles.Youmaywatchfilmsonline(byfollowingthelinksalreadypostedonCamTools)orbycheckingdisksoutoftheMMLlibrary.Ifthereissignificantstudentinterest,wewillarrangegroupscreeningsofthemostsignificantfilmsassignedforthecourse:watchingonabigscreenalwaysgivesyouabettersenseofafilm'svisualcomposition.Insomeinstancespublishedscenariosorshootingscriptsareavailableforthefilmswewillstudy;thesewillreducethelinguisticchallengethatworkingwithfilmmaypresent.Secondaryreadingwillincludecritical,historicalandtheoreticaltexts.Eachtopicbelowisfollowedbyalistofthefilmsthatmaybediscussedinlecturesandsupervisions.YouareNOTexpectedtostudyeveryfilmlistedhere,butyouareexpectedtowatchatleast4ofthefilmsidentifiedas'coreviewing'foreachtopicinordertodevelopabroadrangeofreferenceforthepaperasawhole.Trytowatchasmanyasyoucanoverthesummer:mostareavailableonyoutube,sometimesevenwithsubtitles(linksarepostedintherelevantfolderonCamTools).Browsingtherecommendedbackgroundandsecondaryreadingwillhelpyouselectwhichfilmsyoumostwant(andneed)towatch.ESSENTIALBACKGROUNDREADING:Bordwell,DavidandThompson,Kristin.FilmArt:AnIntroduction[skimtoacquirea

basicgraspofthetechniquesandterminologyoffilmanalysis;manyveryinexpensiveusededitionsofthistextareavailableforsaleonlinefromplaceslikeamazon;anyeditionisfineforourpurposes:theupdatessimplyusemorerecentfilmexamples.Makesurethatyoupurchase‘FilmArt:AnIntroduction’,not‘FilmHistory:AnIntroduction’]

Beumers,Birgit.AHistoryofRussianCinema[skimtogetabroadsenseoftheprincipaldevelopmentsanddebatesinRussianandSovietcinema]

ADDITIONALBACKGROUNDREADING(eachoftheseisakeyreferenceworkforat

leastoneofthefivetopics):Beumers,Birgit,ed.,CompaniontoRussianCinema(WileyBlackwall,2016):thisisan

expensivebook,soshouldnotbebought,butyoumayfinditausefulpointofreferenceoverthecourse).

Tsivian,Yuri.EarlyCinemainRussiaandItsCulturalReceptionGillespie,David.EarlySovietCinema:Innovation,IdeologyandPropagandaWiddis,Emma.VisionsofaNewLand:SovietFilmfromtheRevolutiontotheSecond

WorldWarWoll,Josephine.RealImages:SovietCinemaandtheThawCondee,Nancy.TheImperialTrace:RecentRussianCinemaAshortlistofadditionalrecommendedbackgroundreadingisappendedtothedescriptionsofeachtopicbelow.YouwillfindmanyshortertextsalreadypostedonthecourseMoodlesite;morewillbeaddedinthecomingmonths.

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TOPICS1.RevolutionaryFilmCulture:FromBoulevardtoAvant-GardeThistopicfocusesonthewaysinwhichthefirstRussianfilmmakerssoughttoreconcilepopulartasteswithpoliticalimperatives,bothbeforeandaftertherevolution.Itwilladdressquestionsofgenre,silentfilmform,earlyfilmperformancepractices,theinfluenceofWesternmodelsandinnovationsinfilmeditingtechniques(i.e.montazh).[NotethatALLofthefilmstobestudiedforthistopicaresilentandmanyofthemareveryshort.]Coreviewing:EvgeniiBauer,Grezy(Fantasies,1915);Zhizn'zazhizn'(ALifeforaLife,1916),Posle

smerti(1915).Eisenstein,Stachka(Strike,1925);BronenosetsPotemkin(BattleshipPotemkin,1925)Protazanov,Aelita(1924)Kuleshov,Neobychainyeprikliucheniiamisteravestavstranebolshevikov(Extraordinary

AdventuresofMisterWestintheLandoftheBolsheviks,1924)Pudovkin,Shakhmtnaiagoriachka(ChessFever,1925);Mat'(Mother,1926)KozintsevandTrauberg,Shinel’(1926),Novyivavilon(NewBabylon,1929)Ermler,OblomokImperii(FragmentofanEmpire,1929)Corereading:Eisenstein,'TheMontageofAttractions'(1923);'TheMontageofFilmAttractions'

(1924)Kuleshov'Americaniitis','ThePrinciplesofMontage';othershorttextsKozintsev,Traubergetal.,'TheEccentricManifesto(1922)Additionalfilms:Barnet,DomnaTrubnoi(HouseonTrubnaiaStreet,1928)Bauer,Revoliutsioner(TheRevolutionary,1917);Umiraiushchiilebed'(TheDyingSwan,

1917))Pudovkin,KonetsSankt-Peterburga(TheEndofSt.Petersburg,1927);PotomokChingiz

Khana(StormOverAsia,1928)Room,Tret'iameshchanskaia(BedandSofa,1927)Slavinskii,Baryshniaikhuligan(TheYoungLadyandtheHooligan,1918)Recommendedbackgroundreading:Christie,IanandTaylor,Richard(eds),TheFilmFactory:RussianandSovietCinemain

Documents,1896-1939.LondonandNY:Routledge,1994.Tsivian,Yuri.EarlyCinemainRussiaandItsCulturalReception.Chicago:UofChicagoP,

1998.Youngblood,DeniseJ.TheMagicMirror:MoviemakinginRussia,1908-1918Youngblood,Denise.MoviesfortheMasses:PopularCinemaandSovietSocietyinthe

1920s

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Keytheoreticalsources:Doane,MaryAnn."Melodrama,Temporality,Recognition:AmericanandRussianSilent

Cinema."East-West:FilmJournal4.2(June1990):69-89.Gaines,Jane."RevolutionaryTheory/PrerevolutionaryMelodrama."Discourse17.3

(Spring1995):101-118. Grieveson,Lee,andPeterKramer.TheSilentCinemaReader.1edition.Routledge,2003.

Keybackgroundsourcesontheperiod:Kapterev,Sergei.‘MezhdunovymIstarymsvetom.Nekotoryeproblemykul’turnogo

kontekstasovetskogonemogokino.’http://pub.unibielefeld.de/luur/download?func=downloadFile&recordOId=2305017&f

ileOId=2305058Kenez,Peter.CinemaandSovietSociety,1917-1953.NY:CambridgeUP,1992.Listov,Viktor."EarlySovietCinema:thespontaneousandtheplanned,1917-1924."

HistoricalJournalofFilm,RadioandTelevision11.2(1991):121-127.StockholmStudiesinRussianLiterature11.Stockholm:Almqvist&WiksellIntnl,

1979.237-263.Taylor,RichardandIanChristie,eds.TheFilmFactory:RussianandSovietCinemain

Documents,1896-1939.Cambridge,MA:HarvardUP,1988.particularlydocuments8-11,13,22,39-40.

Taylor,Richard."Agitation,PropagandaandtheCinema:TheSearchforNewSolutions,1917-1921."Art,Society,Revolution:Russia,1917-1921.Ed.NilsAkeNilsson.

--."TheBirthoftheSovietCinema."BolshevikCulture:ExperimentandOrderintheRussianRevolution.Ed.AbbottGleason,PeterKenez,andRichardStites.Bloomington:IndianaUP,1985.

Tsivian,Yuri.EarlyCinemainRussiaanditsCulturalReception.Tr.AlanBodger.Ed.RichardTaylor.London:Routledge,1994.

--."EarlyRussianCinema:SomeObservations."InsidetheFilmFactory:NewApproachestoRussianandSovietCinema.Ed.RichardTaylorandIanChristie.London:Routledge,1991.

--ImmaterialBodies.CD-ROM(offersillustratedoverviewandanalysisofsilentcinemaactingandfilmingstyle.

Yangirov,Rashit."SovietCinemaintheTwenties:nationalalternatives."Trans.RichardTaylor.HistoricalJournalofFilm,RadioandTelevision11.2(1991):129-139.

Youngblood,DeniseJ.TheMagicMirror:MoviemakinginRussia,1908-1918.UnivofWisconsinPress,1999.

Youngblood,DeniseJeanne.SovietCinemaintheSilentEra,1918-1935.UniversityofTexasPress,1991.

OnBauer:Boele,O.F.,O.F.Boele,1016510,andFaculteitderGeesteswetenschappen.“AfterDeath,

theMovie(1915)-IvanTurgenev,EvgeniiBauerandtheAestheticsofMorbidity.”https://openaccess.leidenuniv.nl/handle/1887/16319.

DeBlasio,Alyssa.“ChoreographingSpace,Time,andDikovinkiintheFilmsofEvgeniiBauer.”TheRussianReview66,no.4(2007):671–692.doi:10.1111/j.1467-9434.2007.00464.x.

Grieveson,Lee,andPeterKramer.TheSilentCinemaReader.Routledge,2003.

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Morley,Rachel.“GenderRelationsintheFilmsofEvgeniiBauer.”TheSlavonicandEastEuropeanReview81,no.1(January1,2003):32–69.doi:10.2307/4213623.

OnKuleshov:Kepley,VanceJr."TheKuleshovWorkshop."L'EffetKoulechov/TheKuleshovEffect.Iris

4.1(1986):5-24.--."Mr.KuleshovintheLandoftheModernists."TheRedScreen:Politics,Society,

ArtinSovietCinema.Ed.AnnaLawton.London:Routledge,1992.Kuleshov,Lev.KuleshovonFilm.Tr.RonaldLevaco.Berkeley:UofCAP,1974.--.SelectedWorks:FifthYearsinFilms.Trans.DmitriAgrachovandNina

Belennkaya.Moskva:Raduga,1987.--.Osnovykinorezhissury.Moskva:Goskinoizdat,1941[repub:Moskva:VGIK,

1995].--.Sobraniesochineniivtrekhtomakh.[2volumespublished].Moskva:

Iskusstvo,1987-8.Petric,Vlada."ASubtextualReadingofKuleshov'sSatireTheExtraordinaryAdventures

ofMr.WestintheLandoftheBolsheviks(1924)."InsideSovietFilmSatire:Laughter

withaLash.Ed.AndrewHorton.NY:CambridgeUP,1993.Sokolov,V.S."Kteoreticheskimistolkovaniiam'effektaKuleshova'."Kinovedcheskie

zapiski.6(1990):26-62.Yampolsky,Mikhail."Kulesbov'sExperimentsandtheNewAnthropologyoftheActor."

SilentFilm.Ed.RichardAbel.NewBrunswick:RutgersUP,1996.OnProtazanov:Christie,Ian."DowntoEarth:AelitaRelocated."InsidetheFilmFactory:NewApproaches

toRussianandSovietCinema.Ed.RichardTaylorandIanChristie.London:Routledge,1991.Christie,IanandJulianGraffy,eds.YakovProtazanovandtheContinuityofRussian

Cinema.London:BFI/NFT,1993.Youngblood,Denise."IakovProtazanov,the'RussianGriffith'."MoviesfortheMasses:

PopularCinemaandSovietSocietyinthe1920s.ByDeniseYoungblood.NY:Cambridge

UP,1992.Zorkaia,Neia."IakovProtazanovisovetskoekinoiskusstvo20-khgodov."Voprosy

kinoiskusstva6(1962):165-91.2.FromSilencetoSound:Eisenstein,VertovandFEKS(theFactoryofthe

EccentricActor)ThismoduleexplorestheworkofSergeiEisensteinandtwoavant-garde‘collectives’:DzigaVertov’s‘FilmEye’group,andtheFactoryoftheEccentricActor(GrigoriiKozintsev,LeonidTraubergandothers),focusingonthewaysinwhichtheynavigatedthetransitionfromsilenttosoundcinema,andalsohoweachadaptedtothechangedpoliticalandartisticconstraintsofthe1930s.Filmswillbestudiedinthecontextofeachdirector'stheoreticalwritingsandcontemporarycriticaldebates.

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Coreviewing:Eisenstein,BronenosetsPotemkin(1925);IvanGroznyi,Parts1and2(IvantheTerrible,

1944-1946)Vertov,Chelovekskinoapparatom(ManwithaMovieCamera,1929);Entuziasm

(Enthusiasm,1930);TripesnioLenin(ThreeSongsaboutLenin,1932)KozintsevandTrauberg,Odna(Alone,1931)Corereading:ShorttextsbyEisenstein,VertovandKozintsev(postedonMoodle)Additionalfilms:Eisenstein,Oktiabr'(1927);General'naialiniia(TheGeneralLine,1929);Aleksandr

Nevskii(1938)Vertov,Shestaiachast'mira(SixthPartoftheWorld,1926);Odinnadtsatyi(The

EleventhYear,1928)Recommendedbackgroundreading:Bordwell,David.TheCinemaofEisensteinGillespie,David.EarlySovietCinema:Innovation,IdeologyandPropaganda.Hicks,Jeremy.DzigaVertov:DefiningDocumentaryFilm.Nesbet,Anne.SavageJunctures:SergeiEisensteinandtheShapeofThinkingTaylor,Richard(ed.),ThePoeticsofCinemaKaganovsky,Lilya,theVoiceofTechnology:SovietCinema’sTransitiontoSound,1928-1935.Indiana,2018.[containschaptersonFEKS’Odna,Vertov].NeiaZorkaia,“’Odna’naperekrestakh,”Kinovedcheskiezapiski74:143-158.3.TheOtherSovietClassics:PopularCinemaintheStalinEraThistopiclooksattheclassicsofSocialistRealistfilmmaking,focusingonpopulargenres:themusical,theromanticcomedy,themelodramaandthewarfilm.LectureswillexplorethewaysinwhichthesefilmsbothconformtoanddeviatefromthenormsofclassicalHollywoodnarrativecinema.LectureswillalsoaddresstheconstructionofadistinctivelySovietsubjectposition;genderednarratives;cinematicLeninsandStalins;laughterandterror.Coreviewing:AbramRoom,Strogiiiunosha(1936)Barnet,Okraina(Outskirts,1933);Usamogosinegomoria(ByTheBluestSea,1936)Vasil'evBrothers,Chapaev(1934)Aleksandrov,Tsirk(Circus,1936),Svetlyiput'(BrightPath,1938),Volga-Volga(1938),

Vesna(Spring,1947)Raizman,Letchiki(Pilots,1935);Mashen'ka(1942)Pyr'ev,Partiinyibilet(PartyCard,1936),;Traktoristy(TractorDrivers,1939),Svinarkai

Pastukh(TheSwinemaidandtheShepherd,1941)Iudin,Devushkaskharakterom(AGirlwithCharacter,1939)KheifitzandZarkhi,Chlenpravitel'stva(AMemberoftheGovernment,1939)

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Romm,Leninv1918g.(1939,Leninin1918)Kalatozov,ValeriiChkalov(1939)Donskoi,Kakzakalialas'stal'(1942);Nepokorennye(TheUndefeated,1945)Ermler,Onazashchishchaetrodinu(ShedefendstheMotherland,1943)Timoshenko,Nebesnyitikhokhod(CelestialSlowpoke,1945)Stolper,Povest'onastoiashchemcheloveke(TaleaboutaRealMan,1948)Chiaureli,PadenieBerlina(1949,FallofBerlin)Corereading:TranscriptsfromfilmstudioandpartydiscussionsofChapaev,Tsirk,andNebesnyi

tikhokhod.Additionalfilms:Aleksandrov,Veselyerebiata(JollyFellows,1934)Barnet,PodvigRazvedchika(TheSecretAgent'sTriumph,1948)Donskoi,Raduga(TheRainbow,1944)Medvedkin,NovaiaMoskva(NewMoscow,1938)Pyr'ev,Skazanieozemlesibirskoi(TaleoftheSiberianLands,1948);KubanskieKazaki

(CossacksoftheKuban,1950);Romm,LeninvOktiabre(LenininOctober,1937)Savchenko,Garmon'(TheAccordion,1934)Recommendedbackgroundreadingforthistopic:Dobrenko,Evgenii.StalinistCinemaandtheProductionofHistory.Kaganovsky,Lilya.HowtheSovietManwasUnmade:CulturalFantasyandMale

SubjectivityunderStalin.Kenez,Peter,CinemaandSovietSociety,1917-1953Miller,Jamie.SovietCinema:PoliticsandPersuasionunderStalinTaylor,RichardandDerekSpring,eds.StalinismandSovietCinema.Widdis,Emma.VisionsofaNewLand:SovietFilmfromtheRevolutiontotheSecond

WorldWar4.SovietCinemaAfterStalin:RewritingthePast,ConfrontingthePresentThistopicexaminesthewaysinwhichSovietfilmmakersrebelledagainsttheconstraintsoftheStalinerainboththeformandcontentoftheirwork.Itexploresrevisionistapproachestofamiliarplotsandtheemergenceofnewthemesandvisualstyles.Filmmakersonwhoseworkstudentsmaywishtoconcentrateinclude:MikhailKalatozov,MarlenKhutsiev,LarisaShepitko,GrigoriiChukhrai,KiraMuratova,El'darRiazanov,orAndreiTarkovskii.Alternatively,studentsmaychoosetoconcentrateonthemesorformalelementsthatappearintheworkofseveralfilmmakers.Thesemayinclude,butarenotlimitedto:revisionistapproachestohistoricalsubjects;experimentswithnarrativeform;gendertrouble;soundscapes;iconoclasticvisionsofcityand/orrurallife;generationalconflicts;filmadaptationsofliterarytexts,etc.Coreviewing:AlovandNaumov,PavelKorchagin(1956),Mirvkhodiashchemu(PeacetoHimwho

Enters,1961)Riazanov,Karnaval'naianoch'(1956,Devushkabezadresa(TheGirlwithoutanAddress,

1957)

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Khutsiev,Vesnanazarechnoiulitse(1957),Mne20let(Iam20,1962-5),Iul'skiidozhd'(JulyRain,1966)

Kalatozov,Letiatzhuravli(TheCranesareFlying,1957);Neotpravlennoepis'mo(TheUnsentLetter,1959)

Chukhrai,Balladaosoldate(Balladofasoldier,1959);Chistoenebo(ClearSkies,1961)Romm,Deviat'dneiodnogogoda(Ninedaysofasingleyear,1961)Tarkovskii,Ivanovodetstvo(1962),AndreiRublev(1967/1971)Konchalovskii,Pervyiuchitel'(FirstTeacher,1965);IstoriiaAsiKliachinoi,kotoraia

liubila,danevyshlazamuzh(TheStoryofAsiaKliachina,WhoLovedSomeone,ButDidn'tGetMarried,1967)

Shepit'ko,Kryl'ia(Wings,1966)Muratova,Korotkievstrechi(BriefEncounters,1967),Dolgieprovody(LongFarewells,

1971)Askol'dov,Komissar(Commissar,1967)Gaidai,Brilliantovaiaruka(TheDiamondArm,1968)Motyl',Beloesolntsepustyni(WhiteSunoftheDesert,1970)Mikhalkov,Svoisredichuzhikh,chuzhoisredisvoikh(Athomeamongstrangers,A

strangerathome,1974)Abdrashitov,Slovodliazashchity(SpeechfortheDefense,1977)Corereading:Contemporaryresponsestofilmsfrom1950s-1970s;scripts;excerptsfromTarkovskii'sZapechatlennoevremia.Additionalfilms:Bondarchuk,Sud'bacheloveka(DestinyofaMan/FateofaMan,1959)ChebotarevandKazanskii,Chelovek-amfibiia(AmphibianMan,1961)Chukhrai,Sorokpervyi(TheForty-first,1956)Daneliia,IashagaiupoMoskve(1963)Mikhalkov,Rodnia(Kinfolk,1981)Riazanov,Beregis'avtomobilia(WatchoutfortheAutomobileORUncommonThief,

1966)Shepit'ko,Voskhozhdenie(TheAscent,1976)Shpalikov,Dolgaiaschastlivaiazhizn'(ALongHappyLife,1966)Tarkovskii,Zerkalo(Mirror,1974);Solaris(1972);Stalker(1979)Recommendedbackgroundreading:Bird,Robert.AndreiRublev.BFI,2008.Bird,Robert.AndreiTarkovsky:ElementsofCinema.Reaktion,2008.Prokhorov,Alexander,ed.SpringtimeforSovietCinema:Re/Viewingthe1960s.Troianovskii,Vitalii,ed.Kinematografottepeli.Knigapervaia(1996);Kinematograf

ottepeli.Knigavtoraia(2002)Oukaderova,Lida,TheCinemaoftheSovietThaw:Space,Materiality,Movement.Indiana,

2017.Woll,Josephine.RealImages:SovietCinemaandtheThaw5.RussianCinemafromPerestroikatothePresentThistopicexaminestheprincipaltrendsandfiguresinRussianfilmmakingsincetheintroductionofperestroikaandglasnost.PrincipalfigureshereareNikitaMikhalkov,

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KiraMuratova,AlekseiBalabanov,AleksandrSokurov,AlekseiGerman,Jr,AndreiZviagintsevandtheyoungfilmmakersassociatedwiththe'Koktebel''group:AlekseiPopogrebskii,BorisKhlebnikov,andVasiliiSigarev.Issuestobeaddressedinlecturesinclude:changesintheculturalinstitutionsandmarketconditionsthatregulatefilmproductionanddistribution;therise,declineandresurrectionofchernukha;theinfluenceof'documentarystyle'onfeaturefilmmaking;thequestfornewsettings,newstoriesandnewactingstyles.Coreviewing:German,MoidrugIvanLapshin(MyFriendIvanLapshin,1984);Khrustalev,mashinu!

(Khrustalev,mycar!,1998);andpossiblyTrudnobyt'bogom(2013?2014?)Abuladze,Pokaianie(Repentance,1985)Soloviev,Assa(1987)Nugmanov,Igla(TheNeedle,1988);Dikiivostok(TheWildEast,1993)Pichul,Malen'kaiaVera(LittleVera,1988)Sokurov,Krugvtoroi(1990);Russkiikovcheg(RussianArk,2002);Telets(Taurus,2001)Rogozhkin,Chekist(1992),Osobennostinatsional'noiokhoty(1995)Livnev,Serpimolot(1994)Mikhalkov,Utomlennyesolntsem(BurntbytheSun,1994),12(2007)Khotinenko,Musul'manin(TheMuslim,1995)Balabanov,Brat(Brother,1997)Zviagintsev,Vozvrashchenie(TheReturn,2003)Muratova,Nastroishchik(TheTuner,2004)Khlebnikov,Svobodnoeplavanie(FreeFloating,2006);possibly:Dolgaiaschastlivaia

zhizn'(ALongHappyLife,2013)Todorovskii,Stiliagi(Hipsters,2008)Sigarev,Volchok(Wolfie,2009)Mamuliia,Drugoenebo(Anothersky,2010)Loban,Shapito-Shou(Chapiteau-Show,2011)Corereading:Contemporaryreviews,scripts,andinterviewswithfilmmakers.Additionalviewing:Balabanov,Schastlivye(HappyDays,1991);Gruz200(Cargo200,2007;caution:

containssomegruesomeviolence);Iatozhekhochu(Metoo,2012)Muratova,Astenicheskiisindrom(AesthenicSyndrome,1989);and(ifIcanfindacopy)

Vechnoevozvrashchenie(2012)Rogozhkin,Blokpost(Checkpoint,1998),Kukushka(Cuckoo,2002)Popogrebskii,Prostyeveshchi(Simplethings,2007);Kakiaproveletimletom(HowI

EndedLastSummer,2010)Khlebnikov,Sumasshedshaiapomoshch'(InsaneAssistance,2009)Sigarev,Zhit'(Live,2012)Sokurov,Dnizatmeniiai(DaysofEclipse,1988),Otetsisyn(2003)Recommendedbackgroundreading:Condee,Nancy.TheImperialTrace:RecentRussianCinema

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TEACHING:Teachingwillcomprise16lectures,5revisionseminarsand10fortnightlysupervisionsoverthecourseofMichaelmas,EasterandLentterms.Thepaperwillconsistoffivetopics;threelecturesandonerevisionseminarwillbedevotedtoeachtopic.StudentsarealsourgedtoattendthegenerallecturesonfilmanalysisthataregivenaspartofCS6inMichaelmasterm.ASSESSMENTStudentsinPartsIBandIIwillbeassessedbyexaminationattheendofEasterTerm.Theexamconsistsoftwosections.Studentswillanswerthreequestions,atleastonefromeachsection.InSectionAcandidatesareaskedtocomparetheworksofasingledirector.Questionsarephrasedsothattheymaybeansweredwithreferencetotheworksofmanydifferentdirectorsstudiedinthecourse.InSectionBstudentsareaskedtocomparetheworksoftwoormoredirectorswithreferencetoawiderangeofthematic,theoreticalandhistoricalquestions.Thesequestionswillnotbelimitedtoasingletopicasoutlinedabove,althoughitwillbepossibletoanswermostquestionswithreferenceonlytothefilmsandissuesaddressedwithinasingletopic.Thecoursehasbeendeliberatelystructuredtoenablestudentstopursueanddeveloptheirindividualinterestsacrossgenres,periodsandtheoreticalquestions.AsampleexampaperisavailableontheCamToolssiteforthiscourse.StudentsinPart1Bmaychoosetosubmitaportfolioofessaysinlieuofsittingthefinalexamination,butshoulddiscusstheirplanstodosowiththeirsupervisoratthestartoftheMichaelmasterm.StudentsinPartIImaychoosetosubmitanOptionalDissertationinlieuofsittingafinalexamination;anystudentsconsideringtheOptionalDissertationshouldconsultwiththecourseconvenoroverthesummeraboutpreparatoryresearchandpossiblesupervisors.LEARNINGOUTCOMES1.Historicalknowledgeandculturalawareness:Thispaperwillfamiliarizestudentswiththedevelopmentofoneoftheworld'smostinfluentialcinematictraditionsinitshistoricalcontext.StudentswillalsoacquireadeeperandmorenuancedunderstandingofRussian,Sovietandpost-Sovietculturalprocessesandsocialforcesfromthe1900sthroughthepresent.Attheendofthecoursetheyshouldbeabletoperceivebothsignificantcontinuitiesanddifferencesacrossfivekeyhistoricalperiods.2.Theoreticalandmethodologicalskills:Lectures,secondaryreadingsandsupervisionassignmentswilldevelopstudents'abilitiestothinkanalyticallyaboutvisualmaterialinhistoricalandtheoreticalcontexts.3.Russianlanguageskills:Workingintensivelywithfilmswillimprovestudents'listeningcomprehensionandexpandtheirvocabularyinRussian.Studentswillalso

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developreadingskillsandexpandtheirvocabularythroughthestudyoffilmmakers'manifestosandrelatedcriticalwritinginRussian.LECTURESCHEDULEMichaelmas

1. FromBoulevardtoAvant-Garde1:Pre-revolutionaryCinema(EKW)Coreviewing:Poslesmerti(Bauer,1915),Zhizn’zazhizn’(Bauer,1915)

2. FromBoulevardtoAvant-Garde2:Kuleshov,AmericanismandMontage(EKW)Coreviewing:Coreviewing:Neob’ychainyeprikliucheniiaMisteraVestavstraneBolshevikov(Kuleshov,1924),Stachka(Eisenstein,1924),Shinel’(KozintsevandTrauberg,1926)

3. FromBoulevardtoAvant-Garde3:TheRevolutionaryAvant-GardeandtheirOthers(EKW)Coreviewing:BronenosetsPotemkin(Eisenstein,1926),Oblomokimperii(Ermler,1929),Aelita(Protazanov,1924)

4. FromSilencetoSound1:TheFactoryoftheEccentricActor(EKW)

CoreViewing:Novyivavilon(1929),Odna(1931)

5. FromSilencetoSound2:Eisenstein(EKW)Coreviewing:BrononosetsPotemkin(1926),IvanGroznyi(PartsIandII)

6. FromSilencetoSound3:Vertov(EKW)Coreviewing:Chelovekskinoapparatom(1929),TripesnioLenine

7. TheOtherSovietClassics1:TheShifttoSocialistRealism(SG)Coreviewing:Strogiiiunosha(1936),Okraina(Barnet,1933),Chapaev(Vasilievbrothers,1935)

8. TheOtherSovietClassics2:Musicals(SG)VolgaVolga(Aleksandrov,1938),Svetlyiput’(Aleksandrov,1938),Kubanskiekazaki(Pyr’ev,1939).

Lent

1. TheOtherSovietClassics3(SG)2. SovietCinemaAfterStalin1(SG)3. SovietCinemaAfterStalin2(SG)4. SovietCinemaAfterStalin3(SG)5. RussianCinemafromPerestroikatothePresent1(SKL)6. RussianCinemafromPerestroikatothePresent2(SKL)7. RussianCinemafromPerestroikatothePresent3(SKL)8. RevisionSeminar

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Easter.1.RevisionSeminar2.RevisionSeminar3.RevisionSeminar4.RevisionSeminar

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SUPERVISIONSCHEDULEGeneralGuidelinesforEssays:1500-2000words.Provideafilmographyandbibliographyofworkscitedandconsulted.Citationsmaybeparentheticalwithinthetext,i.e.(Morley2002,35)wouldrefertoanarticleorbookbyMorley,publishedin2002,page35.Thebibliographymustcontainfullpublication information forallworkscitedand/orconsulted. IfyouonlyciteoneworkbyMorleyyoumayomittheyearofpublicationinyourparentheticalreference.A successful essay will offer a precise, carefully structured and narrowly focusedargument that is based on detailed analysis of one or two films from the silent era.Remembertoavoidthepitfallsofplotsummaryinyouressays:alldescriptivestatementsshouldalsobeanalytic: WhenX(evidence) happens, it indicatesZ(claim),becauseY(youranalysis.).Youneednot(indeed,youshouldnot)discusseveryaspectofthefilm(s)youchoosetodiscussinyouressay.Instead,selectoneormorekeysequencesandanalyzetheminthecontextofthefilmasawholeand/orthedirector’swritingsaboutfilm.Youmustprovidevisualevidencetosupportyourpoints,soyouwillneedtore-viewthefilmyouchoosetoanalyze(atleastinpart)inordertomakeasufficientlydetailedargument.*Forallsupervisions:a)Pleaseletyoursupervisionpartnerknowwhichfilmsyouwillbediscussinginyouressayassoonasyouselectthem,sothats/hewillhavetimetowatchatleastone(ifnotall)ofthembeforethesupervision.b)Emailyoursupervisionpartneryouressaywhenitisfinished.Readandpreparecommentsonyourpartner’sessaywhenitarrives.MICHAELMASTERMSUPERVISIONSCHEDULESupervisionone:FromAvant-gardetoBoulevardYouressaymaycomparetheworkoftwodifferentdirectorsORtwoworksbyasingledirector,butyoushouldcometothesupervisionpreparedtodiscussatleastonepre-revolutionaryandonepost-revolutionarysilentfilm.Supervisionstwoandthree:FromSilencetoSound:FEKS,Eisenstein,VertovForonesupervisionyoushouldfocusyouressayontheworkofasingledirectororcollective.Fortheother,youmaywriteeitheracomparativeessayoranotheressayexaminingtheworkofasingledirector.Thisisnottheonlytopicthatisconducivetothestudyofasingledirector'swork,butitisoneofthebestopportunitiesyouwillhavetothinkabouttheearlySovietfilmdirectorasauteur.Ineachessayyoushouldwriteaboutatleasttwofilmsinsomedetail,butyouwillwanttoframethemwithreferencetootherworks—theoreticalwritingsand/orfilms—bythedirectorsyouchoosetostudy.Supervisionfour:PopularCinemaintheStalinEra

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Essaysandsupervisionsforthistopicshouldcomparefilmseitherwithinoracrossgenrecategories(i.e.musicals,warfilms,‘easterns’,biopics,romanticcomedies,melodramas)LENTTERMSUPERVISIONSCHEDULESupervision1:Studentschooseoneofthefollowingoptions:

a)ContinueworkonTopic3,workingwithadifferentsetoffilmsandtheoreticalapproachesthaninthefinalsupervisionofMichaelmas.b)Writeacomparativeessay,examiningatleastonefilmmadebefore1953andonemadeafter1956.c)MoveentirelyintoTopic4(seeessaytitlesbelow)andwriteanessaythatanalyzestwoThaw-erafilms.

Supervision2:EssayanalyzingatleasttwofilmssetforTopic4OR––ifyoudidnotselectoption(b)above––anessaycomparingatleastoneatleastonefilmmadebefore1953andonemadeafter1956.Supervision3:EssayanalyzingatleasttwofilmssetforTopic5. Supervison4:First(of3)revisionsupervisions.ThissupervisionmaybepostponedthefinalfewdaysofLenttermORweek0ofEaster,butitisbettertotrytodoitinLent.Itbecomesverydifficulttofit3revisionsupervisionsintothe4weeksofEasterterm.

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ESSAYTITLESPERTOPICTOPIC1:GuidelinesforEssaysThe titles listed below are deliberately open and broadly formulated. You shouldformulateamuchNARROWERargumentaboutspecificworksthatengageswiththekeyconcepts of each title. Feel free not only to polemicize with the title, but also toreformulateitinmorespecifictermsthatarerelevanttothefilmsandissuesyouchoosetodiscuss.TOPIC1:EssayTitles1. ‘Silentcinemabothassertsandchallengestheauthorityofvisionasasourceofaccurateknowledgeabouttheworld.’Discusswithreferencetoatleasttwofilmsfromthesilentera.2. Selectasinglemotifornarrativepatternintheworkofasinglefilmmakerandanalyzeitsuseandsignificanceinatleasttwofilms.3. 'EventhemostseeminglyfrivolousRussianfilmsareimbuedwithpoliticalsignificanceafter1917.'Discusswithreferencetoatleasttwofilmsfromthesilentera.4. ‘AestheticchoicesandpoliticalconvictionsarelinkedintheworkofmanyRussianfilmmakers.'Discusswithreferencetoatleasttwofilmsfromthesilentera.5. Compareandcontrastthewaysinwhichsilentcinemamapssocialconflictsintermsofsexualdesireinatleasttwofilms,onemadebefore1917andonemadeafter.Rememberthatyoumustaddressthistopicintermsofvisualdetail(i.e.donotrelyonplotsummaryalone.)6. Compareandcontrastthefunctionofcross-cuttinginanytwofilmsofthesilentera.7. ‘Everyformalparallelmarksbothacontrastandasimilarity.’Discusswithreferencetoatleasttwofilmsfromthesilentera.8. ‘Melodramainscribesthebodyindistresswithmeaning.’Discusswithreferencetoatleasttwofilmsfromthesilentera.9. ‘EarlySovietcinemarejectedboththeformalandthethematicfociofitspre-revolutionarypredecessors.’'Discusswithreferencetotheworkofatleastonepre-revolutionaryandonepost-revolutionaryfilmmaker.(Toanswerthisquestionsuccessfully,youwillneedtolimityourdiscussiontodetailedanalysisofasingleclusterofcloselyrelatedformalandthematicfeatures)10. 'Everychangeinfilmhistoryimpliesachangeinitsaddresstothespectator,andeachperiodconstructsitsspectatorinanewway.'Discusswithreferencetotheworkofatleastonepre-revolutionaryandonepost-revolutionaryfilmmaker.11. 'Spectacleandnarrative–thatis,showingandtelling,astonishingandinforming–areoftenatoddsinthecinemaofthesilentera.'Discusswithreferencetoatleasttwofilms.12. 'Theoriginsofavant-gardecinematicpracticesarediscernibleinthepopularcinemaofthepre-revolutionaryperiod.'Discusswithreferencetotheworkofatleastonepre-revolutionaryandonepost-revolutionaryfilmmaker.13. 'Objectsspeakmoreloudlythanwordsinthecinemaofthesilentera.'Discusswithreferencetoatleasttwofilms.14. ‘Meaningisproducednotwithintheshot,butinthejuxtapositionofoneshotwithanother.’Discusswithreferencetoatleasttwofilmsfromthesilentera.

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TOPIC2:GuidelinesforEssays:Keyissuestoconsiderasyouthinkthroughtheworkofthesethreedirectors/collectivesarethefollowing:a)Howdoestheirworkevolveovertime:whichimages,issues,visualstrategiespersist?whichareabandoned?howdoesthelaterworkdiffermostdistinctivelyfromtheearlierwork?b)Howdoeseachnegotiatetheshiftfromsilenttosoundcinema?Howdotheyimaginetheshiftwilltakeplace?Howdotheysubsequentlyimplementitintheirwork?c)Howdoeseachrespondtopoliticalpressures,historicalchangeand/orculturalfashioninhiswork?d)Howdotheyrespondtooneanother'swork––bothexplicitlyandimplicitly?e)Howdoestheir'theory'matchwiththeir'practice'?Topic2EssayTitles:Pleasenote:Asthistopicisintendedtoallowyoutofocusindepthontheworkofasingledirector/collective,youareencouragedtocraftyourownessaytitleforatleastoneofthesupervisions.Youarenotrequiredtodoso,buttheexperienceofformulatingyourowntopicandargument,ratherthanrelyingononeofthetitlesprovidedisgoodpreparationfortheexam.Inanyevent,youshouldbesuretoarticulateyourOWNideasinyourresponse.1. SelectakeytheoreticalconceptfromthewritingsofEisensteinorVertov;analyzeitanddiscussitssignificancefortwoormoreoftheirworks.Ifyouwish,youmaychoosetocontrastthemwithoneanotherORwithFEKSinrelationtothisconcept.2. 'Themarkoftheauteurishisorherrelianceonostranenie.'Discusswithreferencetoatleasttwofilms.(bearinginmindShklovsky'sdiscussionofostraneniein'ArtasDevice').3. 'Filmsrewritehistorynotonlyintheirspokendialogueandintertitles,butalsointheircameraworkandeditingchoices.’Discusswithreferencetoatleasttwofilms.4. ‘Sounddoesnotexpandafilm’sexpressiverange;itlimitsit.’Discusswithreferencetoatleasttwofilms.5. 'Theformalinnovationsofavant-gardefilmmakersinthe1920swerebasedintheoriesaboutthenatureofhumanperception.'Discusswithreferencetoatleasttwofilms.6. 'Inthe1920sSovietfilmmakersbasedtheirpracticeontheoriesthattheywerecompelledtomodifyordiscardentirelyinthe1930s.'Discusswithreferencetoatleasttwofilms.

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7. HowdoVertov'sfilms"expose"(or,inFormalistterms,'barethedevice'of)cinematic

technologies?TowhatextentdohisfilmssupportVertov'scontentionthat"theCine-Eye"is"moreperfectthanthehumaneyeforexaminingthechaosofvisualphenomena"andthatthe"Cine-Eye....perceivesandfixesitsimpressionsinacompletelydifferentwayfromthatofthehumaneye"?

8. Compareandcontrastthetheoryandpracticeofmontageinatleasttwofilms.YoumaychoosetoworkwithfilmsfromtheearlyandlaterworkofasinglefilmmakerORwithworksbydifferentfilmmakersworkingatroughlythesametime.

9. CompareandcontrastthewaysinwhichanytwoormorefilmsbyVertov,EisensteinorFEKSnarratethepast.Makesureyouressayaddressesthespecificallycinematicmeansbywhichthefilmsyouchooseapproachthepast.YoumayfindHaydenWhite’sessayon‘historiophoty’ofinteresthere(ornot).

10. ‘Cinemaistheartoforganizingmovingobjectsinspace.’Discusswithreferencetoatleasttwofilms.

11. Whatchangesandwhatremainsthesameintheworkthatfilmmakersproducebeforeandafter1932?Discusswithreferencetoatleasttwofilms.Bearinmindthatyoucannotdiscusseverythinginyouressay.Selectasingleaspect--technological,political,narrative—andfocusonit.

12. Howdofilmmakersconstructrelationshipsbetweenthe‘old’andthe‘new’invisualterms?Discusswithreferencetoatleasttwofilms.Donotwritea‘list’or‘catalogue’:makeanarrowlyfocusedargument.

13. ‘Allviolenceisallegorical’.Discusswithreferencetoatleasttwofilms.

14. ‘Propagandaeducatesandtransforms;agitationmobilizes.Forthisreasonfilm–propagandaandfilm-agitationdeployverydifferentvisualandnarrativestrategies.’Discusswithreferencetoatleasttwofilms.

15. Compareandcontrastthewaysinwhichanytwoofthesefilmmakersmadethetransitionfromsilencetosound.

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TOPICTHREE:GuidelinesforEssaysThelistofsuggestedfilmsbeloworganizesfilmsyoumightwanttodiscussforthistopicbygenre(notethatsomeappearinseveralcategories).Theseclassificationsareintendedprimarilytogiveyouasenseofwhichfilmsyoumightwanttowatchandthekindoftheoreticalreadingonwhichyoumightchoosetofocus.Pleasenotethatnotallofthesefilmswerereleasedtouniversalacclaim.YoushouldaimEITHERtowatchseveralfilmsfromasinglecategoryORatleastonefromeach.Filmswithasingleasteriskarethosethecourseconvenersconsidermostcentraltothistopic,butyouarefreetowatchandwriteaboutanyfilmsonthislist,asteriskedornot.Filmswithadoubleasteriskareparticularlyusefulifyouwanttothinkabouttheconstructionofgenderinthisperiod.Historical-Revolutionary/Biopics:*Vasil'evBrothers,Chapaev(1934)KozintsevandTrauberg,ЮностьМаксима(TheYouthofMaksim,1935)**KheifitzandZarkhi,Chlenpravitel'stva(AMemberoftheGovernment,1939);*Romm,Leninv1918g.(1939,Leninin1918);LeninvOktiabre(LenininOctober,1937)Kalatozov,ValeriiChkalov(1939)*KheifitzandZarkhi,Chlenpravitel'stva(AMemberoftheGovernment,1939)Donskoi,Kakzakalialas'stal'(1942)**Stolper,Povest'onastoiashchemcheloveke(TaleaboutaRealMan,1948)*Chiaureli,PadenieBerlina(1949,FallofBerlin)Raizman,Kaval'erzolotoizvezdy(1950)Musicals:Aleksandrov,Veselyerebiata(JollyFellows,1934);Tsirk(Circus,1936),Svetlyiput'

(BrightPath,1938),*Volga-Volga(1938),**Vesna(Spring,1947)Pyr'ev,*/**Traktoristy(TractorDrivers,1939);SvinarkaiPastukh(TheSwinemaidand

theShepherd,1941);*Skazanieozemlesibirskoi(TaleoftheSiberianLands,1948);KubanskieKazaki(CossacksoftheKuban,1950);

Romanticdramasandcomedies:**Room,Strogiiionosha(AStrictYouth,1934)Barnet,Usamogosinegomoria(ByTheBluestSea,1936)**Raizman,Letchiki(Pilots,1935);Mashen'ka(1942);**Poezdidetnavostok(1947)Medvedkin,NovaiaMoskva(NewMoscow,1938)*/**Iudin,Devushkaskharakterom(AGirlwithCharacter,1939)*/**Timoshenko,Nebesnyitikhokhod(CelestialSlowpoke,1945)Melodramas(thisisatrickyclassfication):*Ekk,Putevkavzhizn'(RoadtoLife,1931)Vasil'evBrothers,Chapaev(1934)**Room,Strogiiionosha(AStrictYouth,1934)Pyr'ev,Partiinyibilet(PartyCard,1936);Donskoi,Kakzakalialas'stal'(1942);Ermler,Onazashchishchaetrodinu(ShedefendstheMotherland,1943)*Stolper,Povest'onastoiashchemcheloveke(TaleaboutaRealMan,1948)

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Warfilms:*Barnet,Okraina(Outskirts,1933);Vasil'evBrothers,Chapaev(1934)Raizman,Mashen'ka(1942);*Ermler,Onazashchishchaetrodinu(ShedefendstheMotherland,1943)Donskoi,Kakzakalialas'stal'(1942);Nepokorennye(TheUndefeated,1945)**Timoshenko,Nebesnyitikhokhod(CelestialSlowpoke,1945)Stolper,Povest'onastoiashchemcheloveke(TaleaboutaRealMan,1948)*Chiaureli,PadenieBerlina(1949,FallofBerlin)'Easterns'Romm,Trinadtsat'(Thirteen,1936)Iudin,Smelyeliudi(Daringpeople,1950)Detective/spyfilmsPyr'ev,Partiinyibilet(PartyCard,1936);Macheret,OshibkainzheneraKochina(EngineerKochin'sMistake,1939)Aleksandrov,VstrechanaEl'be(MeetingontheElba,1949)TOPICTHREE.EssayTitles:1. ‘Stalinistcinemawasneitherpure“entertainment”normere“propaganda”.’DiscusswithreferencetoRussianand/orSovietcinema;makesureyouprovideaverycleardefinitionofhowyouunderstandthekeytermsofthistopic.Youmaychoosetogroundyourdiscussioninhistoricaland/ortheoreticalreferences.2. ‘Theconventionsofpopularfilmgenres–whethermelodrama,musical,detective,cowboy--werereadilyadaptedtotheideologicalaimsofSovietand/orpost-Sovietfilmmakers.’DiscusswithreferencetoRussianand/orSovietcinema.‘3. ‘Alllaughterissubversive.’DiscusswithreferencetoRussianand/orSovietcinema.‘4. 'Melodramainscribesthebodyindistresswithmeaning.'DiscusswithreferencetoRussianand/orSovietcinema.‘DiscusswithreferencetoRussianand/orSovietcinema.YouwillfindPeterBrooks’essayonmelodramainfilm(onCamTools)usefulinthinkingaboutthistopic.5. ‘AnalyzetwoStalin-eramusicalswithreferencetoEITHERRichardDyer’stheoryofutopiaandentertainmentORRickAltman’sdiscussionofthemusicalasdual-focusnarrative’.[KeyextractsfromtheirwritingonthistopicarepostedonCamTools].6. ‘CompareandcontrastthewaysinwhichStalin-eraBildungsfilmspresenttheformationofa“new”Sovietsubjectivity.Youmaywishtoapproachthistopicfromtheprismofsocialorigin,genderdifferenceorgeneration.7. ‘CinemaintheStalineraemulatedtheWestinordertocritiqueitsvalues.’

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8. ‘Плохтоткоммунист,которыйлишенспособностимечтать.Мечтакоммуниста—неестьотлетотземного,аполетвбудущее'.[LUNACHARSKII]TOPIC4.GuidelinesforEssaysThisisatopicthatlendsitselfeithertocomparativeanalysisofmultiplefilmsalongthematiclines(history,gender,subjectivity,generationalconflict)ortotheexaminationofworkbyasinglefilmmaker(Khutsiev,Muratova,Tarkovskiiarethemostlogicalchoices,butothersarepossible).PleasewritetoDr.Larsenforspecificsuggestionsoftitlesthatmightmeetyourinterests.YoumaychooseEITHERanyquestionfromSectionAofthesampleexampaper(postedonCamTools)ORanyofthefollowingORyoumaymakeupyourOWNessaytitleonatopicthatinterestsyou(butconsultmeaboutitfirst).TOPIC4:EssayTitles.Discussanyoneofthefollowingwithreferencetoatleasttwofilmsmadebefore1985.Ifyouexpecttopreparethistopic

1. ‘Alllaughterissubversive.’

2. 'Filmsrewritehistorynotonlyintheirplots(fabula)anddialogue,butalsointheircameraworkandeditingchoices.’

3. ‘After1953Soviet filmmakersattemptedtocreateasenseof iskrennost’ through

innovationsinthevisualformandnarrativestructureoftheirworks.’

4. ‘GenderroleswerearticulatedinverydifferentformsinRussiancinemaafter1956.’

5. ‘ThevoicesandvisionsthatappearonSovietscreensafter1956differfromthose

of the Stalin era in their resistance to instant legibility and easy replication.’Discuss.

6. ‘SovietcinemaduringtheThawreconfiguresthepossibilities forSovietdesire.’

Discuss.

7. 'Torevealideologyasfalseislesspowerfulthantorevealitasmeaningless.’Discusswithreferencetopost-Stalinistcinema.

8. 'CinemaoftheThaweraconceptualizedthepassageoftimeinwaysthatdiffered

significantlyfromthetemporalitiesofStalinistcinema.’

9. ‘Thereturnofsubjectivityisthedefiningfeatureofpost-Stalinistculture.’DiscusswithreferencetocinemaoftheThawera.

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10. ‘Somehistoriesaresuchthattheycannotbenamedinwordsorrepresentedonscreen.’

11. ‘Cinemaofthepost-Stalinperiodoftenborrowstheiconographyand/orrhetoric

ofSovietmasscultureinordertodeconstructit.'

12. 'Theworkofmanylate-Sovietandpost-SovietfilmmakersattemptstopreserveavisionoftheSovietpastthatisinvisibleinofficialartoftheSovietperiod.’

13. 'Late-Sovietandpost-Sovietcinemaisdominatedbyanattempttoreshapeboth

thememoriesoftheSovietpastandtheformsinwhichthatpastmaybecommemorated.'Discuss.

14. ‘‘ThelookofSovietcinemaafter1953ismeaningfulpreciselybecauseofthe

waysinwhichitdiffersfromthatoftheStalinera.’

15. ‘SovietcinemaintheThaweraaimsforgreaterauthenticitybyforegroundingtheartificeinherentinallculturalproduction.’

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