{"title":"Cinema","description":null,"products":[{"product_id":"screening-soviet-nationalities-kulturfilms-from-the-far-north-to-central-asia-by-oksana-sarkisova","title":"Screening Soviet Nationalities: Kulturfilms from the Far North to Central Asia by Oksana Sarkisova","description":"\u003cp\u003e\u003cspan\u003eFilmmakers in the early decades of the Soviet Union sought to create a cinematic map of the new state by portraying its land and peoples on screen. Such films created blueprints of the Soviet domain's scenic, cultural and ethnographic perimeters and brought together \u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e–\u003c\/span\u003e in many ways disparate \u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e–\u003c\/span\u003e nations under one umbrella. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCategorised as \u003cem\u003ekulturfilms\u003c\/em\u003e, they served as experimental grounds for developing the cinematic formulae of a multi-ethnic, multinational Soviet identity. \u003cem\u003eScreening Soviet Nationalities\u003c\/em\u003e examines the non-fictional representations of Soviet borderlands from the Far North to the Northern Caucasus and Central Asia between 1925-1940. Beginning with Dziga Vertov and his vision of the Soviet space as a unified, multinational mosaic, Oksana Sarkisova rediscovers films by Vladimir Erofeev, Vladimir Shneiderov, Alexander Litvinov, Mikhail Slutskii, Amo Bek-Nazarov, Mikhail Kalatozov, Roman Karmen and other filmmakers who helped construct an image of Soviet ethnic diversity and left behind a lasting visual legacy. The book contributes to our understanding of changing ethnographic conventions of representation, looks at studies of diversity despite the homogenising ambitions of the Soviet project, and re-examines methods of blending reality and fiction as part of both ideological and educational agendas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUsing a wealth of unexplored archival evidence from the Russian State Documentary Film and Photo Archive (RGAKFD) as well as the Gosfilmofond state film archive, Sarkisova examines constructions of exoticism, backwardness and Soviet-driven modernity through these remarkable and underexplored historical travelogues.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Bookshop","offers":[{"title":"Default Title","offer_id":42920227471521,"sku":"","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/products\/9781350242456.jpg?v=1678100299"},{"product_id":"film-and-identity-in-kazakhstan-soviet-and-post-soviet-culture-in-central-asia-by-rico-isaacs","title":"Film and Identity in Kazakhstan: Soviet and Post-Soviet Culture in Central Asia by Rico Isaacs","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCinema and nationalism are two fundamentally modern phenomena, but how have films shaped our understanding of the creation -the 'imagining' - of Central Asian nations? Here, Rico Isaacs uses cinema as an analytical lens to explore how the Kazakh national identity has been constructed and contested. Drawing on an analysis of Kazakh films from the last century, and featuring new interviews with directors and critics involved in the Central Asian film industry, his book traces the construction of nationalism within Kazakh cinema from the country's inception as a Soviet Republic to a modern independent nation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIsaacs identifies four narratives since the collapse of the Soviet Union: a warrior-like 'ethnic' narrative rooted in the 18th-century struggles against the Mongolian Oirat tribes; a 'civic' inspired narrative cemented in the Stalinist deportations of the 1930s and 1940s; a religious narrative founded within the mystic and philosophical religion of Tengrism and the cult of the Sky God; and a socio-economic narrative which roots Kazakh nationhood and identity in contemporary social divisions, the lived day-to-day experiences of ordinary citizens and the struggles they face with authority.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThese last two tropes demonstrate how cinema has emerged as a site of dissent against the country's authoritarian regime under President Nazarbayev. \u003cem\u003eFilm and Identity in Kazakhstan\u003c\/em\u003e advances our understanding of Kazakhstan and nationalism by demonstrating the multiple and inessential character of each, and illustrates the important role of cinema in contesting political power in the post-Soviet space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Bookshop","offers":[{"title":"Default Title","offer_id":43179763597473,"sku":"","price":31.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9781350252295.jpg?v=1693480056"},{"product_id":"eccentrism-turns-100-feks-and-the-early-soviet-avant-garde-a-centenary-anthology-edited-by-ian-christie","title":"Eccentrism Turns 100: FEKS and the Early Soviet Avant-Garde. A Centenary Anthology edited by Ian Christie","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe revolutionary Soviet cinema of Sergei Eisenstein, Dziga Vertor, Vseveled Pudovkin and Lev Kuleshov inspired young filmmakers and audiences around the world, at the same time as it terrified censors. Most of it came from Moscow, the new capital of Soviet Russia after the revolutions of 1917. But in the former imperial capital - 'then not yet Leningrad, pored between the present and the future', according to the critic Viktor Shklovsky - 'the way was also open for experimentation'. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan aria-label=\"\" class=\"c-mrkdwn__br\" data-stringify-type=\"paragraph-break\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eLeading that revolt against tradition were the youngsters who launched \"Eccentrism\" in 1921. Leonid Trauberg and Grigori Korintsev, 20 and 17 respectively, had both recently arrived from Ukraine. Within months they had distributed their 'Factory of the Eccentric Actor' (FEKS) manifesto, recruited a troupe of extraordinary performers, and presented their first riotous stage shows. The poster for \u003cem\u003eThe Wedding\u003c\/em\u003e, which owed little to Gogol, promised 'operetta, melodrama, farce, film, circus, variety, Charlie Chaplin and the lovely Betty'. Their motte was borrowed from Mark Twain - 'Better to be a young pup than an old bird of paradise.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan aria-label=\"\" class=\"c-mrkdwn__br\" data-stringify-type=\"paragraph-break\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eEisenstein nearly joined them but decided to return to Moscow. Within two years both had made their film debut, Eisenstein with \u003cem\u003eThe Strike\u003c\/em\u003e and FEKS with \u003cem\u003eThe Adventures of Oktyabrina\u003c\/em\u003e, both revealing their love of American serials, Sherlock Holmes and \u003cem\u003eFantomas\u003c\/em\u003e, FEKS' earliest surviving film, \u003cem\u003eThe Devil's Wheel\u003c\/em\u003e, was a hit among young people, with its story of a sailor from the cruiser \u003cem\u003eAurora\u003c\/em\u003e who deserts to spend the night with a girl he's met in the funfair, amid an assortment of Petrograd's hustlers and lowlife. Today it feels closer to the French New Wave than to most early Soviet films.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis centenary celebration features the first complete translation of the FEKS manifesto, alongside a facsimile of its original 'eccentric typography, with a portfolio of stills from \u003cem\u003eOktyabrina\u003c\/em\u003e, original polemics, and later reminiscences by the founders.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Bookshop","offers":[{"title":"Default Title","offer_id":43788017074337,"sku":"","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/2024-02-28_Mailchimp_16_9_1200x675px.jpg?v=1707916728"},{"product_id":"ukrainian-cinema-belonging-and-identity-during-the-soviet-thaw-by-joshua-first-1","title":"Ukrainian Cinema Belonging and Identity during the Soviet Thaw by Joshua First","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cem\u003eUkrainian Cinema: Belonging and Identity during the Soviet Thaw\u003c\/em\u003e is the first concentrated study of Ukrainian cinema in English. In particular, historian Joshua First explores the politics and aesthetics of Ukrainian Poetic Cinema during the Soviet 1960s-70s. \u003c\/span\u003e\u003cspan\u003eHe argues that film-makers working at the Alexander Dovzhenko Feature Film Studio in Kyiv were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognise Ukrainian cultural difference. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe first two chapters provide the background on how Soviet cinema since Stalin cultivated an exoticised and domesticated image of Ukrainians, along with how the film studio in Kyiv attempted to rebuild its reputation during the early Sixties as a centre of the cultural thaw in the USSR. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe next two chapters examine Sergei Paradjanov's highly influential \u003cem\u003eShadows of Forgotten Ancestors\u003c\/em\u003e (1965) and its role in reorienting the Dovzhenko studio toward the auteurist (some would say elitist) agenda of Poetic Cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the final three chapters, Ukrainian Cinema looks at the major works of film-makers Yurii Illienko, Leonid Osyka, and Leonid Bykov, among others, who attempted (and were compelled) to bridge the growing gap between a cinema of auteurs and concerns to generate profit for the Soviet film industry.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback \u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Shop","offers":[{"title":"Default Title","offer_id":44331350753441,"sku":"","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9781350371491.jpg?v=1715764475"},{"product_id":"the-cinema-of-tarkovsky-labyrinths-of-space-and-time-by-nariman-skakov","title":"The Cinema of Tarkovsky: Labyrinths of Space and Time by Nariman Skakov","description":"\u003cp\u003e\u003cspan\u003eThe phenomenon of time was a central preoccupation of Tarkovsky throughout his career. His films present visions of time by temporal means - that is, in time. Tarkovsky does not represent time through coherent argument, Nariman Skakov proposes, rather he presents it and the viewer experiences the argument.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis book explores the phenomenon of spatio-temporal lapse in Tarkovsky's cinema - from \"Ivan's Childhood\" (1962) to \"Sacrifice\" (1986). Dreams, visions, mirages, memories, revelations, reveries and delusions are phenomena which present alternative spatio-temporal patterns; they disrupt the linear progression of events and create narrative discontinuity. Each chapter is dedicated to the discussion of one of Tarkovsky's seven feature films and in each, one of these phenomena functions as a refrain.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSkakov discusses the influence of the flow of and lapses in space and time on the viewer's perception of the Tarkovskian cinematic universe. He opens and closes his original and fascinating book on Tarkovsky's cinema by focusing on the phenomenon of time that is discussed extensively by the filmmaker in his main theoretical treatise Sculpting in Time, as well as in a number of interviews and public lectures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Shop","offers":[{"title":"Default Title","offer_id":55365214142842,"sku":"","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9781848856301.jpg?v=1746792438"},{"product_id":"performing-femininity-woman-as-performer-in-early-russian-cinema-by-rachel-morley","title":"Performing Femininity: Woman as Performer in Early Russian Cinema by Rachel Morley","description":"\u003cp\u003e\u003cspan\u003eOriental dancers, ballerinas, actresses and opera singers – the figure of the female performer is ubiquitous in the cinema of pre-Revolutionary Russia. From the first feature film, Romashkov's \u003cem\u003eStenka Razin\u003c\/em\u003e (1908), through the sophisticated melodramas of the 1910s, to Viskovsky's \u003cem\u003eThe Last Tango\u003c\/em\u003e (1918), made shortly before the pre-Revolutionary film industry was dismantled by the new Soviet government, the female performer remains central. In this groundbreaking new study, Rachel Morley argues that early Russian film-makers used the character of the female performer to explore key contemporary concerns from changing conceptions of femininity and the emergence of the so-called 'New Woman', to broader questions concerning gender identity.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMorley also reveals that the film-makers repeatedly used this archetype of femininity to experiment with cinematic technology and develop a specific cinematic language.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Shop","offers":[{"title":"Default Title","offer_id":55375964373370,"sku":"","price":31.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9781350242869.jpg?v=1747058265"},{"product_id":"fear-before-the-fall-horror-films-in-the-late-soviet-union-by-alexander-herbert","title":"Fear Before the Fall: Horror Films in the Late Soviet Union by Alexander Herbert","description":"\u003cp\u003e\u003cspan\u003eAlienation, generational tensions, rampant nationalism and the pervasiveness of atomic danger are all topics that haunted late Soviet citizens, and those fears are reflected in the films meant to represent their horror genre. In the late 1970s and throughout the 1980s, production of horror movies from independent filmmakers and Hollywood skyrocketed. It was a time of intense Cold War conflict and a resurgence of conservative ideals. It’s not difficult to imagine that the ascent of horror occurred in conjunction with an increasingly scary and alienated world, and horror reflected those freights in the form of nuclear holocausts, toxic waste pollution, alien clown invaders and undead houseguests.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEveryone was at risk – teenagers especially – because their present and future remained most uncertain.  If we can agree that such feelings underpinned American viewers in the age of Reagan and neo-liberalism, then what about late socialism? How did film makers depict Soviet society’s fears?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Shop","offers":[{"title":"Default Title","offer_id":55376032760186,"sku":"","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9781789049794.jpg?v=1747060151"},{"product_id":"the-memory-of-tiresias-intertextuality-and-film-by-mikhail-iampolski","title":"The Memory of Tiresias: Intertextuality and Film by Mikhail Iampolski","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe concept of intertextuality has proven of inestimable value in recent attempts to understand the nature of literature and its relation to other systems of cultural meaning. In \u003cem\u003eThe Memory of Tiresias\u003c\/em\u003e, Mikhail Iamposlki presents the first sustained attempt to develop a theory of cinematic intertextuality. Building on the insights of semiotics and contemporary film theory, Iampolski defines cinema as a chain of transparent, mimetic fragments intermixed with quotations he calls 'textual anomalies'.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThese challenge the normalisation of meaning and seek to open reading out onto the unlimited field of cultural history, which is understood in texts as a semiotically active extract, already inscribed. Quotations obstruct mimesis and are consequently transformed in the process of semiosis, an operation that Iampolski defines as reading in an aura of enigma. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn a series of brilliant analyses of films by D.W. \u003c\/span\u003e\u003cspan\u003eGriffith, Sergei Eisenstein, and Luis Bunuel, he presents different strategies of intertextual reading in their work. His book suggests the continuing centrality of semiotic analysis and is certain to interest film historians and theorists, as well as readers in cultural and literary studies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Bookshop","offers":[{"title":"Default Title","offer_id":55877818024314,"sku":null,"price":31.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9780520085305.jpg?v=1757420506"},{"product_id":"tarkovsky-films-stills-polaroids-writings","title":"Tarkovsky: Films, Stills, Polaroids \u0026 Writings by Andrey A. Tarkovsky, Hans-Joachim Schlegel and Lothar Schirmer","description":"\u003cp dir=\"ltr\"\u003e\u003cem\u003eDive into the world of Andrei Tarkovsky with “Tarkovsky: Films, Stills, Polaroids \u0026amp; Writings” – a visual and textual journey blending the director’s film stills, personal Polaroids and diary fragments with reflections by fellow artists and critics. It traces his work from “Ivan’s Childhood” to “The Sacrifice”, giving you a front‑row seat to his cinematic vision.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAndrey Tarkovsky was the most important Russian filmmaker of the post-war era, and one of the world’s most renowned cinematic geniuses. He directed the first five of his seven films – \u003cem\u003eIvan’s Childhood\u003c\/em\u003e, \u003cem\u003eAndrei Rublev\u003c\/em\u003e, \u003cem\u003eSolaris\u003c\/em\u003e, \u003cem\u003eMirror\u003c\/em\u003e and \u003cem\u003eStalker\u003c\/em\u003e – in the Soviet Union, but in 1982 defected to Italy, where he made \u003cem\u003eNostalgia\u003c\/em\u003e. His final film, \u003cem\u003eThe Sacrifice\u003c\/em\u003e, was produced in Sweden in 1985.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTarkovsky’s films are characterized by metaphysical themes, extended takes, an absence of conventional dramatical structure and plot, and a dream-like, visionary style of cinematography. They achieve a spiritual intensity and transcendent beauty that many consider to be without parallel. This book presents extended sequences of stills from each of the films alongside synopses and cast and crew listings.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt includes reflections on Tarkovsky’s work from fellow artists and writers including Jean-Paul Sartre and Ingmar Bergman, for whom Tarkovsky was ‘the greatest, the one who invented a new language.’ Extracts from Tarkovsky’s own writings and diaries offer a wealth of insights into his poetic and philosophical views on cinematography, which he described as ‘sculpting in time’. The book also reproduces many personal Polaroid photographs that confirm the extraordinary poetic vision of a great artist who died aged only 54, but who remains a potent influence on artists and filmmakers today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHardback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Bookshop","offers":[{"title":"Default Title","offer_id":56254087102842,"sku":null,"price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9780500022597.jpg?v=1764594501"},{"product_id":"film-posters-of-the-russian-avant-garde-by-susan-pack","title":"Film Posters of the Russian Avant-Garde by Susan Pack","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAt the intersection of the visual, graphic, and cinematic arts, film posters are a unique and thrilling record of a particular cultural zeitgeist. This book brings together 250 posters from the Soviet Union of the 1920s and early 1930s to explore the energy and invention of this period, before Soviet Realism became the official art doctrine. 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An ethnic Armenian in the multicultural atmosphere of Tbilisi, Georgia, he was one of the most innovative directors of postwar Soviet cinema. Parajanov succeeded in creating a small but marvellous body of work whose style embraces such diverse influences as folk art, medieval miniature painting, early cinema, Russian and European art films, surrealism, and Armenian, Georgian, and Ukrainian cultural motifs.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cem\u003eThe Cinema of Sergei Parajanov\u003c\/em\u003e is the first English-language book on the director's films and the most comprehensive study of his work. James Steffen provides a detailed overview of Parajanov's artistic career: his identity as an Armenian in Georgia and its impact on his aesthetics; his early films in Ukraine; his international breakthrough in 1964 with\u003cem\u003e Shadows of Forgotten Ancestors\u003c\/em\u003e; his challenging 1969 masterpiece, \u003cem\u003eThe Color of Pomegranates\u003c\/em\u003e, which was re-edited against his wishes; his unrealised projects in the 1970s; and his eventual return to international prominence in the mid-to-late 1980s with \u003cem\u003eThe Legend of the Surami Fortress \u003c\/em\u003eand \u003cem\u003eAshik-Kerib\u003c\/em\u003e. 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