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Directory of World Cinema
Directory of World Cinema: Russia
Be they musicals or melodramas, war movies or animation, Russian films have a long and fascinating history of addressing the major social and political events of their time. From Sergei Eisenstein's
- GenresFilm
335 pages, Kindle Edition
First published December 15, 2010
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July 30, 2022
If one wanted to develop an understanding of the complexity and range of cinema produced by those states integral to Russia and the Soviet Union since the advent of film then the 'Directory of World Cinema: Russia' would be an excellent starting point. It is an anthology text that provides both an overview and selective critical history of the industries, film makers and movies that emerged out of Imperial Russia, the USSR and post-Communist Russia, and it achieves its nominal aims effectively. The reader will become more familiar with key ideas, issues, personalities and cultural implications of Russian and Soviet cinema, and will undoubtedly want to see several of the movies listed.
The format of the text is more than adequate for the purpose of the publishers and editor. Starting with a short but cogent history of the film industries of Russia and associated states, it moves fluidly into a study of important Russian auteurs such as Eisenstein and Tarkovsky. This is then followed by a study of Russian/Soviet film genres, such as war movies, melodramas, comedies and children's films. Each of these genre studies are explored through a critical essay and a consideration of notable movies in the category. The entries may be written by different contributors however the structure is well organised and harmonious, allowing the reader to follow the overarching issues and concepts with little difficulty.
The book's text amply demonstrates that the editor and authors are competent in their factual knowledge of the subject as well as their critical approaches to Russian/Soviet film. Putting aside the description of films or directors, this book produces a well articulated schema for understanding the hows and whys of the Russian and Soviet film industries. The importance of finance, of technical developments and perhaps most crucially, political implications or contexts are all given due consideration. At several times the book raises the spectre of Communist censorship or propaganda considerations, and this is most useful when considering how film might have reflected, subverted or promoted the overarching political culture of the contemporary regime. It could be argued that not enough is said of Soviet film propaganda as a single creative or political entity; there is no one essay or study in the book that delineates the nature of film as political weapon in the USSR. However one can take more than enough information from the films that are surveyed to understand the underpinning principles of Soviet cinema as a political tool for the state.
One area that deserves commendation is the appraisal of Russian cinema after the collapse of the USSR. The disintegration of the state controlled industry during the Yeltsin era, followed by the growth of more capitalist, nationalist cinema productions is one that will fill in a few blanks for those interested in more contemporary Russian film. Considering the growing authoritarianism of the Putin regime and by association the increase in jingoism and even xenophobia one can see in the discussion of those movies made from approximately 1999 onwards a transference of these attitudes into Russian movies. It was rather provoking to read of films made both during the Soviet period and since the USSR's collapse that posited certain races and nations as inferior to Russians (i.e. Chechens and Ukrainians).
Perhaps the most intriguing of genre studies featured in this book is that which considers the 'Eastern', i.e. films set in the Central Asian provinces or lands of the Imperial or Soviet-era East that echoed some of the tropes of the American western. There is no doubt that many Russian or Soviet films from genres such as war movies, literary adaptations, documentaries and action movies will have some familiarity with the average European film fan. However the 'Eastern' appears to be a unique cultural product that has a fascinating history.
This book is not perfect and it might be arguably too long for the neophyte film student. The huge number of creative personnel cited in the essays, as well as some of the technical or specifically Russian terms becomes a bit much by the end of the book. It might have benefited from a reduction in the number of films examined, with more of an emphasis on those readily accessible to a wider audience. A glossary or similar supplement could also have helped. However these are relatively minor issues.
In conclusion. 'Directory of World Cinema: Russia' is a well constructed and most comprehensive study of its subject. It will definitely appeal to those wanting to learn more about the cinema industry that produced 'Battleship Potemkin', 'Come and See' and 'Night Watch' among other movies. That there are more entries in this series, looking at other nations' film industries, is most welcome.
The format of the text is more than adequate for the purpose of the publishers and editor. Starting with a short but cogent history of the film industries of Russia and associated states, it moves fluidly into a study of important Russian auteurs such as Eisenstein and Tarkovsky. This is then followed by a study of Russian/Soviet film genres, such as war movies, melodramas, comedies and children's films. Each of these genre studies are explored through a critical essay and a consideration of notable movies in the category. The entries may be written by different contributors however the structure is well organised and harmonious, allowing the reader to follow the overarching issues and concepts with little difficulty.
The book's text amply demonstrates that the editor and authors are competent in their factual knowledge of the subject as well as their critical approaches to Russian/Soviet film. Putting aside the description of films or directors, this book produces a well articulated schema for understanding the hows and whys of the Russian and Soviet film industries. The importance of finance, of technical developments and perhaps most crucially, political implications or contexts are all given due consideration. At several times the book raises the spectre of Communist censorship or propaganda considerations, and this is most useful when considering how film might have reflected, subverted or promoted the overarching political culture of the contemporary regime. It could be argued that not enough is said of Soviet film propaganda as a single creative or political entity; there is no one essay or study in the book that delineates the nature of film as political weapon in the USSR. However one can take more than enough information from the films that are surveyed to understand the underpinning principles of Soviet cinema as a political tool for the state.
One area that deserves commendation is the appraisal of Russian cinema after the collapse of the USSR. The disintegration of the state controlled industry during the Yeltsin era, followed by the growth of more capitalist, nationalist cinema productions is one that will fill in a few blanks for those interested in more contemporary Russian film. Considering the growing authoritarianism of the Putin regime and by association the increase in jingoism and even xenophobia one can see in the discussion of those movies made from approximately 1999 onwards a transference of these attitudes into Russian movies. It was rather provoking to read of films made both during the Soviet period and since the USSR's collapse that posited certain races and nations as inferior to Russians (i.e. Chechens and Ukrainians).
Perhaps the most intriguing of genre studies featured in this book is that which considers the 'Eastern', i.e. films set in the Central Asian provinces or lands of the Imperial or Soviet-era East that echoed some of the tropes of the American western. There is no doubt that many Russian or Soviet films from genres such as war movies, literary adaptations, documentaries and action movies will have some familiarity with the average European film fan. However the 'Eastern' appears to be a unique cultural product that has a fascinating history.
This book is not perfect and it might be arguably too long for the neophyte film student. The huge number of creative personnel cited in the essays, as well as some of the technical or specifically Russian terms becomes a bit much by the end of the book. It might have benefited from a reduction in the number of films examined, with more of an emphasis on those readily accessible to a wider audience. A glossary or similar supplement could also have helped. However these are relatively minor issues.
In conclusion. 'Directory of World Cinema: Russia' is a well constructed and most comprehensive study of its subject. It will definitely appeal to those wanting to learn more about the cinema industry that produced 'Battleship Potemkin', 'Come and See' and 'Night Watch' among other movies. That there are more entries in this series, looking at other nations' film industries, is most welcome.
Displaying 1 of 1 review