Russian war films : on the cinema front, 1914-2005
著者
書誌事項
Russian war films : on the cinema front, 1914-2005
University Press of Kansas, c2007
- : pbk
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Filmography: p. [241]-253
Bibliography: p. [285]-299
Includes index
内容説明・目次
内容説明
War movies have long been the most influential genre in Russian cinema, so much so that in the Soviet Union's militaristic society, ""cinema front"" was used to describe the film industry itself. Denise J. Youngblood, an internationally recognized authority on Russian and Soviet cinema, provides the first comprehensive guide to this long-neglected genre. Youngblood explores more than 160 fiction films on Russian conflicts from World War I to Chechnya. These movies represent a wide range of cinematic styles and critical receptions. While not ignoring classic war films like ""Chapaev"" and ""The Cranes Are Flying"", Youngblood introduces readers to the films that shaped and reflected Soviet views of war, like the rousing World War II favorite ""Two Warriors"", the Thaw classic ""The Living and the Dead"", and the Brezhnevian extravaganza ""Liberation"". This remarkably humanistic body of work was often at odds with official policies and depicted the futility of war. Youngblood is especially insightful regarding the relationship between Stalinism, Socialist Realism, and filmmakers in creating the war film genre during an era marked by increasing militarization, conformism, and state terror and by the importance of cinema in the World War II propaganda effort. Stalin's obsession with movies led to the ""revisioning"" of his role in the Civil War and the ""Great Patriotic War."" Yet, Youngblood argues, Soviet filmmakers were not mere puppets of repressive regimes. Indeed, some filmmakers subtly subverted official politics and history in the guise of art or Hollywood-style entertainment. She brings the story to the present by showing how post-Soviet Russian filmmakers have not only turned a critical eye on the recent wars in Afghanistan and Chechnya but are also revisiting the complex realities of World War II. Youngblood tells a fascinating story that will appeal equally to film aficionados and history buffs. By tracing the evolution of cinema through the twists and turns of both Soviet and post-Soviet society, she helps us understand the role movies played in 20th-century Russia, not only in the making and unmaking of political myths but also in the ""writing"" of history.
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