Ukrainian Cinema: Belonging and Identity during the Soviet Thaw (KINO - The Russian and Soviet Cinema)

Ukrainian Cinema: Belonging and Identity during the Soviet Thaw 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. He argues that film-makers working at the Alexander Dovzhenko Feature Film Studio in Kiev were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognize Ukrainian cultural difference. The 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 Kiev attempted to rebuild its reputation during the early Sixties as a centre of the cultural thaw in the USSR. The next two chapters examine Sergei Paradjanov's highly influential Shadows of Forgotten Ancestors (1965) and its role in reorienting the Dovzhenko studio toward the auteurist (some would say elitist) agenda of Poetic Cinema. In 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. Ukrainian cinema: Belonging and identity during the Soviet thaw' 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. He argues that film-makers working at the Alexander Dovzhenko Feature Film Studio in Kiev were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognize Ukrainian cultural difference. The 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 Kiev attempted to rebuild its reputation during the early Sixties as a centre of the cultural thaw in the USSR. The next two chapters examine Sergei Paradjanov's highly influential Shadows of Forgotten Ancestors (1965) and its role in reorienting the Dovzhenko studio toward the auteurist (some would say elitist) agenda of Poetic Cinema.0In 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 Ukrainian Cinema: Belonging and Identity during the Soviet Thaw 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. He 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 recognize Ukrainian cultural difference. The first two chapters provide 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 center of the cultural Thaw in the USSR. The next two chapters examine Sergei Paradjanov's highly influential Shadows of Forgotten Ancestors (1965) and its role in reorienting Dovzhenko Studio toward the auteurist (some would say elitist) agenda of Poetic Cinema. In the final three chapters, Ukrainian Cinema looks at the major works of film-makers Iurii 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 profits for the Soviet film industry. Cover Copyright Contents List of Illustrations General Editor’s Preface Acknowledgements Note on Transliteration Introduction Chapter 1 Stalinism, De-Stalinization and the Ukrainian in Soviet Cinema Chapter 2 Rebuilding a National Studio During the Early 1960s Chapter 3 Sergei Paradjanov’s Carpathian Journey Chapter 4 Paradjanov and the Problem of Film Authorship Chapter 5 ‘Ukrainian Poetic Cinema’ and the Construction of ‘Dovzhenko’s Traditions’ Chapter 6 Making National Cinema in the Era of Stagnation Chapter 7 ‘Ukrainian Poetic Cinema’ between the Communist Party and Film Audiences Conclusion: Ukrainian Cinema and the Limitations of National Expression Notes Bibliography Historian Joshua First explores the politics and aesthetics of Ukrainian Poetic Cinema during the Soviet 1960s-70s. 'Ukrainian Cinema' during the Soviet thaw 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. He argues that filmmakers working at the Alexander Dovzhenko Feature Film Studio in Kiev were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognize Ukrainian cultural difference Stalinism, De-stalinization And The Ukrainian In Soviet Cinema -- Rebuilding A National Studio During The Early 1960s -- Sergei Paradjanov's Carpathian Journey -- Paradjanov And The Problem Of Film Authorship -- 'ukrainian Poetic Cinema' And The Construction Of 'dovzhenko's Traditions' -- Making National Cinema In The Era Of Stagnation -- 'ukrainian Poetic Cinema' Between The Communist Party And Film Audiences -- Conclusion: Ukrainian Cinema And The Limitations Of National Expression. Joshua First. Includes Bibliographical References (pages 228-235) And Index.