The Zero Hour: Glasnost and Soviet Cinema in Transition
Now faced with the "zero hour" created by a new freedom of expression and the dramatic breakup of the Soviet Union, Soviet cinema has recently become one of the most interesting in the world, aesthetically as well as politically. How have Soviet filmmakers responded to the challenges of gl...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
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Princeton, NJ
Princeton University Press
[2022]
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| Online-Zugang: | FAW01 FAB01 FCO01 FHA01 FKE01 FLA01 UPA01 UBG01 Volltext |
| Zusammenfassung: | Now faced with the "zero hour" created by a new freedom of expression and the dramatic breakup of the Soviet Union, Soviet cinema has recently become one of the most interesting in the world, aesthetically as well as politically. How have Soviet filmmakers responded to the challenges of glasnost? To answer this question, the American film scholar Andrew Horton and the Soviet critic Michael Brashinsky offer the first book-length study of the rapid changes in Soviet cinema that have been taking place since 1985. What emerges from their collaborative dialogue is not only a valuable work of film criticism but also a fascinating study of contemporary Soviet culture in general. Horton and Brashinsky examine a wide variety of films from BOMZH (initials standing for homeless drifter) through Taxi Blues and the glasnost blockbuster Little Vera to the Latvian documentary Is It Easy to Be Young? and the "new wave" productions of the "Wild Kazakh boys." The authors argue that the medium that once served the Party became a major catalyst for the deconstruction of socialism, especially through documentary filmmaking. Special attention is paid to how filmmakers from 1985 through 1990 represent the newly "discovered" past of the pre-glasnost era and how they depict troubled youth and conflicts over the role of women in society. The book also emphasizes the evolving uses of comedy and satire and the incorporation of "genre film" techniques into a new popular cinema. An intriguing discussion of films of Georgia, Estonia, Latvia, Lithuania, and Kazakhstan ends the work |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2022) |
| Beschreibung: | 1 online resource (304 pages) |
| ISBN: | 9780691227863 |
| DOI: | 10.1515/9780691227863 |
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| spelling | Horton, Andrew Verfasser aut The Zero Hour Glasnost and Soviet Cinema in Transition Andrew Horton, Michael Brashinsky Princeton, NJ Princeton University Press [2022] © 1992 1 online resource (304 pages) txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2022) Now faced with the "zero hour" created by a new freedom of expression and the dramatic breakup of the Soviet Union, Soviet cinema has recently become one of the most interesting in the world, aesthetically as well as politically. How have Soviet filmmakers responded to the challenges of glasnost? To answer this question, the American film scholar Andrew Horton and the Soviet critic Michael Brashinsky offer the first book-length study of the rapid changes in Soviet cinema that have been taking place since 1985. What emerges from their collaborative dialogue is not only a valuable work of film criticism but also a fascinating study of contemporary Soviet culture in general. Horton and Brashinsky examine a wide variety of films from BOMZH (initials standing for homeless drifter) through Taxi Blues and the glasnost blockbuster Little Vera to the Latvian documentary Is It Easy to Be Young? and the "new wave" productions of the "Wild Kazakh boys." The authors argue that the medium that once served the Party became a major catalyst for the deconstruction of socialism, especially through documentary filmmaking. Special attention is paid to how filmmakers from 1985 through 1990 represent the newly "discovered" past of the pre-glasnost era and how they depict troubled youth and conflicts over the role of women in society. The book also emphasizes the evolving uses of comedy and satire and the incorporation of "genre film" techniques into a new popular cinema. An intriguing discussion of films of Georgia, Estonia, Latvia, Lithuania, and Kazakhstan ends the work In English PERFORMING ARTS / Film & Video / History & Criticism bisacsh Culture in motion pictures Glasnost Motion pictures Soviet Union Popular culture Soviet Union Brashinsky, Michael Sonstige oth https://doi.org/10.1515/9780691227863?locatt=mode:legacy Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Horton, Andrew The Zero Hour Glasnost and Soviet Cinema in Transition PERFORMING ARTS / Film & Video / History & Criticism bisacsh Culture in motion pictures Glasnost Motion pictures Soviet Union Popular culture Soviet Union |
| title | The Zero Hour Glasnost and Soviet Cinema in Transition |
| title_auth | The Zero Hour Glasnost and Soviet Cinema in Transition |
| title_exact_search | The Zero Hour Glasnost and Soviet Cinema in Transition |
| title_exact_search_txtP | The Zero Hour Glasnost and Soviet Cinema in Transition |
| title_full | The Zero Hour Glasnost and Soviet Cinema in Transition Andrew Horton, Michael Brashinsky |
| title_fullStr | The Zero Hour Glasnost and Soviet Cinema in Transition Andrew Horton, Michael Brashinsky |
| title_full_unstemmed | The Zero Hour Glasnost and Soviet Cinema in Transition Andrew Horton, Michael Brashinsky |
| title_short | The Zero Hour |
| title_sort | the zero hour glasnost and soviet cinema in transition |
| title_sub | Glasnost and Soviet Cinema in Transition |
| topic | PERFORMING ARTS / Film & Video / History & Criticism bisacsh Culture in motion pictures Glasnost Motion pictures Soviet Union Popular culture Soviet Union |
| topic_facet | PERFORMING ARTS / Film & Video / History & Criticism Culture in motion pictures Glasnost Motion pictures Soviet Union Popular culture Soviet Union |
| url | https://doi.org/10.1515/9780691227863?locatt=mode:legacy |
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