A Companion to Russian Cinema

A Companion to Russian Cinemaprovides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies.

• The most up-to-date and thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field
• This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions
• The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture
• Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography
• Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglected

Avainsanat: Russian cinema, Soviet cinema, post-Soviet cinema, Russian identity, pre-Revolutionary Russia, St Petersburg movie theatres, VGIK Film Institute, Kulturfilm, Boris Shumiatsky, Lenfilm, Gorky Studio, Battleship Potemkin, Soviet musical, The Circus, Kuban Cossacks, Tractor Drivers, Dmitri Shostakovich, Grigorii Aleksandrov, Ivan Pyriev, Carnival Night, Lev Kuleshov, Elem Klimov, Welcome, or No Trespassing, auteur cinema, Kira Muratova, Andrei Konchalovskii, Ilyich’s Gates, Marlen Khutsive, Andrei Tarvkoskii, Andrei Rublev, cinematography, Yakov Protazanov, Fridrikh Ermler, Leonid Gaidai, Alexei German, blockbuster, Brother, Lovey-Dovey, Night Watch, Soviet screenplay, Technicolor, Aleksandr Shorin, Pavel Tager, Igor Savchenko, A Chance Encounter, Nadezhda Lamanova, House on Trubnaya, The Girl with a Hatbox, Iurii Zheliabuzhskii, Mikhail Kalatozov, The Unsent Letter, Eduard Tisse, Chapaev, We are from Kronstadt, Shchors, Aleksandr Dovzhenko, She Defends the Motherland, The Brest Fortress, Sergei Bondarchuk, They Fought for the Motherland, The Cranes are Flying, Seventeen Moments of Spring, Mikhail Romm, Secret Mission, New Moscow, Hipsters, Boris Barnet, Andrei Zviagintsev, The Return, Leviathan, By the Bluest of Seas, Iulii Raizman. Kidnapping Caucasian Style, The Diamond Arm, Trial on the Road, My Friend Ivan Lapshin, Hard to be a God, Cold War, war film, costume design, production design, Russian cinema, Soviet cinema, post-Soviet cinema, Russian identity, pre-Revolutionary Russia, St Petersburg movie theatres, VGIK Film Institute, Kulturfilm, Boris Shumiatsky, Lenfilm, Gorky Studio, Battleship Potemkin, Soviet musical, The Circus, Kuban Cossacks, Tractor Drivers, Dmitri Shostakovich, Grigorii Aleksandrov, Ivan Pyriev, Carnival Night, Lev Kuleshov, Elem Klimov, Welcome, or No Trespassing, auteur cinema, Kira Muratova, Andrei Konchalovskii, Ilyich’s Gates, Marlen Khutsive, Andrei Tarvkoskii, Andrei Rublev, cinematography, Yakov Protazanov, Fridrikh Ermler, Leonid Gaidai, Alexei German, blockbuster, Brother, Lovey-Dovey, Night Watch, Soviet screenplay, Technicolor, Aleksandr Shorin, Pavel Tager, Igor Savchenko, A Chance Encounter, Nadezhda Lamanova, House on Trubnaya, The Girl with a Hatbox, Iurii Zheliabuzhskii, Mikhail Kalatozov, The Unsent Letter, Eduard Tisse, Chapaev, We are from Kronstadt, Shchors, Aleksandr Dovzhenko, She Defends the Motherland, The Brest Fortress, Sergei Bondarchuk, They Fought for the Motherland, The Cranes are Flying, Seventeen Moments of Spring, Mikhail Romm, Secret Mission, New Moscow, Hipsters, Boris Barnet, Andrei Zviagintsev, The Return, Leviathan, By the Bluest of Seas, Iulii Raizman. Kidnapping Caucasian Style, The Diamond Arm, Trial on the Road, My Friend Ivan Lapshin, Hard to be a God, Cold War, war film, costume design, production design, Film Studies