East European Cinema:
A Bibliography of Materials in the UC Berkeley Library












Soviet Union/Russia

General Books
General Journal Articles

Individual Soviet/Russian Directors:

Alexander Dovzhenko
Sergei Eisenstein
Nikita Mikhalkov
V.I. Pudovkin
Esther (Esfir) Shub
Alexander Sokurov
Andrei Tarkovsky
Dziga Vertov

Czechoslovakia

Milos Forman (See separate bibliography)

Hungary

Poland

Andrzej Wajda
Krzysztof Kieślowski

Romania

Yugoslavia/Serbia/Croatia/Macedonia
Emir Kusturica
Dusan Makavejev

Articles and Books on other individual Eastern European or Russian films

Russia/Soviet Union: Books

Books

Attwood, Lynne.
Red Women on the Slver Screen: Soviet Women and Cinema From the Beginning to the End of the Communist Era / Lynne Attwood with Maya Turovskaya ... [et al.]; translations by Lynne Attwood and Kirsten Sams. London: Pandora, 1993.
UCB Main PN1995.9.W6 A78 1993

Attwood, Lynne.
"Sex and the cinema." In: Sex and Russian society / edited by Igor Kon and James Riordan. Bloomington : Indiana University Press, 1993.
Main Stack HQ18.S65.S46 1993

Before the Wall Came Down: Soviet and East European Filmmakers Working in the West
Edited by Graham Petrie, Ruth Dwyer. Lanham, Md.: University Press of America, c1990.
UCB Main PN1993.5.E82 B44 1990
UCB Moffitt PN1993.5.E82 B44 1990

Birkos, Alexander S.
Soviet Cinema: Directors and Films / compiled by Alexander S. Birkos. Hamden, Conn.: Archon Books, 1976.
UCB Hum/Area PN1998.A2 B56

Brashinsky, Michael.
"Closely Watched Drains: Notes by a Dilettante on the Soviet Absurdist Film." In: Inside Soviet Film Satire: Laughter with a Lash / editor, Andrew Horton. pp: 58-62. Cambridge [England]; New York, NY, USA: Cambridge University Press, 1993. Cambridge studies in film.
Main Stack PN1995.9.C55.I54 1993

Camera politique : cinema et stalinisme
IRCAV ; sous la direction de Kristian Feigelson. Paris : Presses Sorbonne nouvelle, 2005.
MAIN: PN1993.5.S65 C36 2005

Carter, Huntly.
The New Spirit in the Russian Theatre, 1917-28. And a Sketch of the Russian Kinema and Radio, 1919-28, Showing the New Communal Relationship Between the Three, by Huntly Carter ... London, New York [etc.] Brentano's ltd. [1929].
UCB Main PN2724 .C27 1929

Carter, Huntly.
The New theatre and Cinema of Soviet Russia; Being an Analysis and Synthesis of the Unified Theatre Produced in Russia by the 1917 Revolution, and an Account of its Growth and Development from 1917 to the Present... London, Chapman & Dodd, 1924.
UCB Main PN2724 .C3 1924

Cinema in Revolution; The Heroic Era of the Soviet Film.
Edited by Luda and Jean Schnitzer and Marcel Martin. Translated and with additional material by David Robinson. New York, Hill and Wang [1973].
UCB Main PN1993.5.R9 C5131 1973

The cinema of Russia and the former Soviet Union
Edited by Birgit Beumers ; [preface by Sergei Bodrov]. London ; New York : Wallflower Press, 2007.
Main Stack PN1993.5.R8.C564 2007

Cohen, Louis Harris.
The Cultural-Political Traditions and Developments of the Soviet Cinema, 1917-1972. New York, Arno Press, 1974 [c1973]. Series title: Dissertations on film series. Series title: The Arno Press cinema program.
UCB Main PN1993.5.R9 C61

Condee, Nancy.
The imperial trace : recent Russian cinema / Nancy Condee. Oxford ; New York : Oxford University Press, 2009.
Main (Gardner) Stacks PN1993.5.R9 C66 2009
Contents: Introduction: custodian of the empire -- Cine-amnesia: how Russia forgot to go to the movies -- Nikita Mikhalkov: European but not Western? -- Kira Muratova: the zoological imperium -- Vadim Abdrashitov-Aleksandr Mindadze: a community of Somnambulants -- Aleksandr Sokurov: shuffling off the imperial coil -- Aleksei German: forensics in the dynastic capital -- Aleksei Balabanov: the metropole's death drive.

Cook, David A.
"Soviet silent cinema and the theory of Montage, 1917-1931." In: A history of narrative film / David A. Cook. 4th ed. New York : W.W. Norton, c2004.
Moffitt PN1993.5.A1.C65 2004

Deleuze, Gilles
"Montage: The Soviet school: dialectical composition." In: The Movement-Image / translated by Hugh Tomlinson and Barbara Habberjam. Minneapolis : University of Minnesota, c1986.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1994 .D39313 1986b

Dickinson, Thorold.
Soviet Cinema [by] Thorold Dickinson and Catherine De La Roche. London, Falcon Press [1948]. Series title: National cinema series.
UCB Main PN1993.5.R9 D5 1948

Dobrenko, E. A. (Evgeni'i Aleksandrovich)
Stalinist cinema and the production of history : museum of the revolution New Haven [Conn.] : Yale University Press, 2008.
MAIN: PN1993.5.S65 D63 2008

Eagle, Herbert.
Russian Formalist Film Theory / Herbert Eagle. [Ann Arbor, Mich.]: Dept. of Slavic Languages and Literatures, University of Michigan, c1981. Series title: Michigan Slavic publications. Series title: Michigan Slavic materials; no. 19.
UCB Main PG13 .M46 no.19

Eisenstein, Sergei
The Soviet Screen, by S. Eisenstein. Moscow, Foreign Languages Pub. House, 1939.
UCB Bancroft x HX15 .Y3 v.87:8

Enemies of the people: the destruction of Soviet literary, theater, and film arts in the 1930s
Edited and with an introduction by Katherine Bliss Eaton. Evanston, Ill.: Northwestern University Press,
Main Stack PG3022 .E52 2002;

The Film Factory: Russian and Soviet Cinema in Documents
Edited and translated by Richard Taylor; co-edited with an introduction by Ian Christie. Cambridge, Mass.: Harvard University Press, 1988. Series title: Harvard film studies.
UCB Main PN1993.5.R9 F471 1988

AUDIOVISUAL (VIDEO)
Glasnost and the Soviet Cinema. Berkeley, CA: University of California, Office of Media Services, 1990.
UCB Media Ctr Video/C 2217

Galichenko, Nicholas
Glasnost--Soviet Cinema Responds / by Nicholas Galichenko; edited by Robert Allington. 1st ed. Austin: University of Texas Press, 1991. Series title: Texas film studies series.
UCB Main PN1993.5.R9 G35 1991

Gillespie, David C.
Russian cinema Harlow, England; New York: Longman, 2003.
UCB Main PN1993.5.R9 G48 2003

Gillespie, David C.; Zhuravkina, Natal'ia
"National identity and the past in recent Russian cinema." In: Soviet civilization between past and present / edited by Mette Bryld & Erik Kulavig. Odense : Odense University Press, 1998.
Main Stack DK266.4.S677 1998

Graffy, Julian
"Cinema." In: Russian cultural studies : an introduction / edited by Catriona Kelly and David Shepherd. Oxford ; New York : Oxford University Press, 1998.
Main Stack DK276.R87 1998

Handbook of Soviet and East European films and filmmakers
Edited by Thomas J. Slater. New York: Greenwood Press, 1992.
UCB Main PN1993.5.R9 H28 1992

Harte, Tim.
"Fast Motion Pictures on the Soviet Screen." In: Fast forward : the aesthetics and ideology of speed in Russian avant-garde culture, 1910-1930 Madison, Wis. : University of Wisconsin Press, c2009.
Full text available online (UCB users only)
Main (Gardner) Stacks N6988.5.A83 H37 2009

Hashamova, Yana
"Castrated patriarchy, violence, and gender hierarchies in post-Soviet film." In: Gender and national identity in twentieth-century Russian culture / edited by Helena Goscilo and Andrea Lanoux. Northern Illinois University Press, c2006.
Main Stack HQ1075.5.S65.G45 2006

Hashamova, Yana
Pride and panic : Russian imagination of the West in post-Soviet film Bristol ; Chicago : Intellect, 2007.
MAIN: PN1993.5.R8 H37 2007
Available online [UCB users only]

Haynes, John
New Soviet man: gender and masculinity in Stalinist Soviet cinema Manchester; New York: Manchester University Press; New York: Distributed exclusively in the USA by Palgrave, 2003.
MAIN: PN1993.5.R9 H34 2003

Horton, Andrew.
The Zero Hour: Glasnost and Soviet Cinema in Transition / Andrew Horton and Michael Brashinsky. Princeton, N.J.: Princeton University Press, c1992.
UCB Main PN1993.5.R9 H63 1992

Imitations of life : two centuries of melodrama in Russia
Edited by Louise McReynolds and Joan Neuberger. Durham [N.C.] : Duke University Press, 2002.
Main Stack PG3089.M44.I53 2002
Contents: The misanthrope, the orphan, and the magpie: imported melodrama in the twilight of serfdom / Richard Stites -- Melodramatizing Russia: nineteenth-century views from the West / Julie A. Buckler -- The importance of being unhappy, or, why she died / Beth Holmgren -- Melodrama as counterliterature? Count Amori's response to three scandalous novels / Otto Boele -- Home was never where the heart was: domestic dystopias in Russia's silent movie melodramas / Louise McReynolds -- Alcohol is our enemy!: Soviet temperance melodramas of the 1920's / Julie A. Cassiday -- Melodrama and the myth of the Soviet Union / Lars T. Lih -- Soviet family melodrama of the 1940s and 1950s: from Wait for me to The cranes are flying / Alexander Prokhorov -- Conventional melodrama, innovative theater, and a melodramatic society: Pavel Kohout's Such a love at the Moscow University student theater / Susan Costanzo -- Between public and private: revolution and melodrama in Nikita Mikhalkov's Slave of love / Joan Neuberger -- Playing dead: the operatics of celebrity funerals, or, the ultimate silent part / Helena Goscilo.

Imre, Aniko.
East European cinemas London : Routledge, 2005.
MAIN: PN1993.5.E2 I47 2005

Inside the Film Factory: New Approaches to Russian and Soviet Cinema
Edited by Richard Taylor and Ian Christie. London; New York, NY: Routledge, 1991. Series title: Soviet cinema.
Full-text available online (UC Berkeley users only)
UCB Main PN1993.5.R9 I57 1991
UCB Moffitt PN1993.5.R9 I57 1991

Inside Soviet Film Satire: Laughter with a Lash
Editor, Andrew Horton. Cambridge [England]; New York, NY, USA: Cambridge University Press, 1993. Cambridge studies in film.
Main Stack PN1995.9.C55.I54 1993

Insiders and outsiders in Russian cinema
Edited by Stephen M. Norris and Zara M. Torlone. Bloomington : Indiana University Press, 2008
Main Stack PN1993.5.R9.I59 2008
Contents: The foreigner's journey to consciousness in early Soviet cinema / Julian Graffy -- The wise and wicked game / Yuri Tsivian -- Dressing the part / Emma Widdis -- Under the Big Top / Josephine Woll -- Eisenstein's cosmopolitan Kremlin / Joan Neuberger -- The picture of the enemy in Stalinist films / Peter Kenez -- Identifying the enemy in contemporary Russian film / Oleg Sulkin -- About killers, freaks, and real men / Anthony Anemone -- Fools and cuckoos / Stephen M. Norris.

Joyce, Mark
"The Soviet montage cinema of the 1920s." In: An Introduction to film studies / edited by Jill Nelmes. Edition 2nd ed. London ; New York : Routledge, 1999.
Main Stack PN1994.I537 1999
PFA PN1994.I59 1999

Kaganovsky, Lilya
"Visual pleasure in Stalinist cinema : Ivan Pyr'ev's The Party Card." In: Everyday life in early Soviet Russia : taking the Revolution inside / edited by Christina Kiaer and Eric Naiman. Boomington : Indiana University Press, c2006.
Main Stack DK268.3.E92 2006
-Table of contents http://www.loc.gov/catdir/toc/ecip0511/2005010929.html

Kaganovsky, Lilya
"Visual pleasure in Stalinist cinema." In: How the Soviet man was unmade : cultural fantasy and male subjectivity under Stalin / Lilya Kaganovsky. Pittsburgh : University of Pittsburgh Press, c2008.
Main (Gardner) Stacks PG3026.M37 K34 2008

Kenez, Peter.
Cinema and Soviet Society, 1917-1953 / Peter Kenez. Cambridge [England]; New York: Cambridge University Press, 1992. Series title: Cambridge studies in the history of mass communications.
UCB Main PN1993.5.R9 K39 1992
UCB Moffitt PN1993.5.R9 K39 1992

Kuleshov, L. V. (Lev Vladimirovich)
Kuleshov on film : writings Berkeley : University of California Press, c1974.
MAIN: PN1995.9.P7 K842 1974
MOFF: PN1995.9.P7 K842 1974

Lary, N. M.
"Eisenstein's cinema of cruelty." In: Dostoevsky and Soviet Film: Visions of Demonic Realism / N.M. Lary. Ithaca: Cornell University Press, 1986.
UCB Main PG3328.Z7 F5641 1986
UCB Moffitt PG3328.Z7 F564 1986

Lawton, Anna (Anna M.)
Cinema and the Russian Avant-garde: Aesthetics and Politics / Anna Lawton. Washington, D.C.: Kennan Instittue for Advanced Russian Studies, [c1986]. Series title: Occasional paper (Kennan Institute for Advanced Russian Studies); no. 213.
UCB Main PN1993.5.R9 L38 1986

Lawton, Anna (Anna M.)
Kinoglasnost: Soviet Cinema in Our Time / Anna Lawton. Cambridge; New York: Cambridge University Press, c1992. Series title: Cambridge Soviet paperbacks; 9.
UCB Main PN1993.5.R9 L36 1992
UCB Moffitt PN1993.5.R9 L36 1992

Leyda, Jay
Kino, A History of the Russian and Soviet Film. New York, Macmillan, 1960.
UCB Main PN1993.5.R9 L47
UCB Media Ctr PN1993.5.R9 L47
UCB Moffitt PN1993.5.R9 L47

Leyda, Jay
Kino, A History of the Russian and Soviet Film. / Jay Leyda. 3rd ed. Princeton, N.J.: Princeton University Press, 1983, c1973. Series title: Princeton paperbacks.
UCB Main PN1993.5.R9 L47 1983
UCB Moffitt PN1993.5.R9 L47 1983

Marshall, Herbert
Masters of the Soviet Cinema; Crippled Creative Biographies / Herbert Marshall. London; Boston: Routledge & K. Paul, 1983.
UCB Main PN1993.5.R9 M338 1983
UCB Moffitt PN1993.5.R9 M338 1983

Marshall, Herbert
Soviet Cinema, by Herbert Marshall. [London] Russia today [1945].
NRLF $B 120 654 Type EXP NRLF for loan details.

Mayne, Judith.
Kino and the Woman Question: Feminism and Soviet Silent Film / Judith Mayne. Columbus: Ohio State University Press, c1989.
UCB Main PN1993.5.R9 M37 1989
UCB Moffitt PN1993.5.R9 M37 1989

MacFadyen, David
The sad comedy of El?dar Riazanov an introduction to Russia's most popular filmaker Montreal : McGill-Queen's University Press, c2003.
Available online (UCB users only)
MAIN: PN1998.3.R52 M32 2003

DISSERTATION
Novikoff, Melvin.
The Film As Propaganda: Soviet Russia (1924-1930) and Nazi Germany (1933-1940) / by Melvin Novikoff. 1960.
NRLF C 2 945 822

Papazian, Elizabeth Astrid.
Manufacturing truth : the documentary moment in early Soviet culture DeKalb : Northern Illinois University Press, c2009.
MAIN: PG3026.S58 P37 2009

Perestroika and Development of Culture: Literature, Theatre, and Cinema
Compiled by Yevgeni Dugin. New Delhi: Sterling Publishers, c1989.
UCB Main DK287 .P47 1989

Post New Wave Cinema in the Soviet Union and Eastern Europe
Edited by Daniel J. Goulding. Bloomington: Indiana University Press, c1989. Series title: A Midland book
UCB Main PN1993.5.E82 P651 1989
UCB Moffitt PN1993.5.E82 P65 1989

Propaganda, Politics, and Film, 1918-45
Edited by Nicholas Pronay and D.W. Spring. London: Macmillan Press, 1982.
UCB Main PN1995.9.P6 P77 1982
UCB Moffitt PN1995.9.P6 .P965 1982

The Red screen : politics, society, art in Soviet cinema.
Edited by Anna Lawton. London ; New York : Routledge, 1992.
Full text available online (UCB users only)
MAIN: PN1993.5.R9 R4 1992
Contents: Government policies and practical necessities in the Soviet cinema of the 1920s / Kristin Thompson -- Ideology and popular culture in Soviet cinema : The kiss of Mary Pickford / Richard Taylor -- Cinema as social criticism : the early films of Fridrikh Ermler / Denise J. Youngblood -- Cinematic abstraction as a means of conveying ideological messages in The man with the movie camera / Vlada Petric -- The kinetic icon and the work of mourning : prolegomena to the analysis of a textual system / Annette Michelson -- Mr Kuleshov in the land of the Modernists / Vance Kepley, Jr. -- Films of the second World War / Peter Kenez -- The new wave in Soviet cinema / Herbert marshall -- The war and Kozintsev's films Hamlet and King Lear / Joseph Troncale -- The image of women in contemporary Soviet Cinema / Francoise Navailh -- Russian nationalist themes in Soviet film of the 1970s / John B. Dunlop -- Socialist realism and American genre film : the mixing of codes in Jazzman / Herbert Eagle -- Art and propaganda in the Soviet Union, 1980-5 / Val Golovskoy -- Alexei German, or the form of courage / Giovanni Buttafava -- Scarecrow and Kindergarten : a critical analysis and comparison / Alexander Gershkovich -- The cinema of the Transcaucasian and Central Asian Soviet Republics / Lino Micciche -- Historical time in Russian, Armenian, Georgian and Kirghiz cinema / Sylvie Dallet -- Does a film writing of history exist? The case of the Soviet Union / Marc Ferro -- The anthill in the year of the dragon / Michael Brashinsky -- With Perestroika, without Tarkovsky / Peter Shepotinnik.

Reeves, Nicholas
"Film Propaganda in the Soviet Union, 1917–1928." In: The power of film propaganda: myth or reality? / London ; New York : Continuum : Cassell, 2003, 1999.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1993.5.E8 R43 2003
Moffitt PN1993.5.E8 R43 2003

Rimberg, John
The Motion Picture in the Soviet Union: 1918-1952, A Sociological Analysis. New York, Arno Press, 1973 [c1959]. Series title: The Arno Press cinema program. Series title: Dissertations on film series.
UCB Main PN1993.5.R9 R5 1973

Rollberg, P.
Historical dictionary of Russian and Soviet cinema / Peter Rollberg. Lanham, Md. : Scarecrow Press, 2009.
Main (Gardner) Stacks PN1998.2 .R578 2009

Russian Critics on the Cinema of Glasnost
Edited by Michael Brashinsky, Andrew Horton. Cambridge; New York: Cambridge University Press, c1994. Series title: Cambridge studies in film.
UCB Main PN1993.5.R92 R877 1994

Russian and Soviet film adaptations of literature, 1900-2001 : screening the word
Edited by Stephen Hutchings and Anat Vernitski. London ; New York : RoutledgeCurzon, 2005.
MAIN: PN1997.85 .F437 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0418/2004013383.html

Shlapentokh, Dmitry.
Soviet Cinematography, 1918-1991: Ideological Conflict and Social Reality / Dmitry Shlapentokh and Vladimir Shlapentokh. New York: A. de Gruyter, 1993. Series title: Communication and social order.
UCB Main PN1993.5.R9 S436 1993

Sklar, Robert.
"Soviet Film." In: A world history of film / Robert Sklar. Harry N. Abrams, 2002.
Main Stack PN1993.5.A1.S555 2002

Soviet Films, 1938-1939. Foreword by Sergei Eisenstein.
Moscow, State Publishing House for Cinema Literature Date [1939]
Main Stack 906v.S729; NRLF $C 16 912

Stalinism and Soviet Cinema
Edited by Richard Taylor and Derek Spring. London; New York: Routledge, 1993. Series title: Soviet cinema.
UCB Main PN1993.5.R9 S73 1993

Stishova, Elena
"Look who's here! A new trend in Soviet cinema." In: Re-entering the sign : articulating new Russian culture / Ellen E. Berry and Anesa Miller-Pogacar, editors. Ann Arbor : University of Michigan Press, c1995.
Main Stack DK510.32.R4 1995

Stojanova, Christina
"Mise-en-scènes of the impossible : Soviet and Russian horror films." In: Alternative Europe : eurotrash and exploitation cinema since 1945 / edited by Ernest Mathijs & Xavier Mendik ; [foreword by Jean Rollin]. London ; New York : Wallflower, 2004.
Main Stack PN1995.9.S284.A46 2004

Strada, Michael J.
Friend or Foe?: Russians in American Film and Foreign Policy, 1933-1991 / Michael Strada and Harold Troper. Lanham, Md.: Scarecrow Press, 1997.
UCB Main PN1995.9.S665 S76 1997

Taylor, Richard
Film Propaganda: Soviet Russia and Nazi Germany / Richard Taylor. London: Croom Helm; New York: Barnes & Noble Books, 1979.
UCB Main PN1993.5.R9 .T25
UCB Moffitt PN1993.5.R9 .T25

Taylor, Richard
The Politics of the Soviet Cinema, 1917-1929 / Richard Taylor. Cambridge [Eng.]; New York: Cambridge University Press, 1979. Series title: International studies.
UCB Main PN1993.5 .R9T3 1979

Tsivian, Yuri.
Early Cinema in Russia and Its Cultural Reception / Yuri Tsivian; translated by Alan Bodger; with a foreword by Tom Gunning; edited by Richard Taylor. London; New York: Routledge, 1994. Series title: Soviet cinema.
UCB Main PN1993.5.R9 T7713 1994

Tsivian, Yuri.
Immaterial bodies: a cultural analysis of early Russian films [Los Angeles, Calif.] : University of Southern California Annenberg Center for Communication, c1999. [computer file] PFA PN1993.5.R9.T765 1999

Tsivian, Yuri.
"Russia, 1913: Cinema in the Cultural Landscape." In: Silent Film / edited, and with an introduction by Richard Abel. pp: 194-214. New Brunswick, N.J.: Rutgers University Press, c1996. Rutgers depth of field series
Main Stack PN1995.75.S55 1996
Moffitt PN1995.75.S55 1996

Tupitsyn, Margarita.
Malevich and film New Haven: London: Yale University Press in association with the Funac~ao Centro Cultural de Belem, c2002.
MAIN: N6999.M34 T86 2002

VIDEORECORDING
U.S.S.R. 1924-1928: Born Yesterday
Channel 4 TV, PI Production [and] FR3; French Ministry of Culture; produced by Hubert Niogret; directed by Noel Burch; script, Noel Burch and Anita Fernandez. Chicago, Ill.: Facets Video, 1989. Series title: What do those old films mean; 5.
UCB Media Ctr VIDEO/C 1406:5 Pt. 5

Vorontsov, IU. (IUrii)
The Phenomenon of the Soviet Cinema / Yuri Vorontsov, Igor Rachuk; [translated from the Russian by Doris Bradbury]. Moscow: Progress Publishers, c1980.
UCB Main PN1993.5.R9 .V68

Vronskaya, Jeanne.
Young Soviet Film Makers; foreword by John Gillett. London, Allen and Unwin, 1972.
UCB Main PN1993.5.R9 V761

Widdis, Emma
Visions of a new land: Soviet film from the Revolution to the Second World War New Haven: Yale University Press, c2003.
Full text available online [UCB users only]
UCB Main PN1993.5.R9 W53 2003

York, Michael.
Are my blinkers showing? : adventures in filmmaking in the new Russia Cambridge, MA : Da Capo Press, 2005.
PFA : PN1997.2.M68 Y67 2005 os; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0517/2005022389.html

Youngblood, Denise J. (Denise Jeanne)
Movies for the Masses: Popular Cinema and Soviet Society in the 1920s / Denise J. Youngblood. Cambridge [England]; New York, NY, USA: Cambridge University Press, 1992.
UCB Main PN1993.5.R9 Y6 1992

Youngblood, Denise J. (Denise Jeanne)
Russian war films: on the cinema front, 1914-2005 Lawrence : University Press of Kansas, c2007.
MAIN: PN1995.9.W3 Y68 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0617/2006023563.html

Youngblood, Denise J. (Denise Jeanne)
Soviet Cinema in the Silent Era, 1918-1935 / by Denise J. Youngblood. Ann Arbor, Mich.: UMI Research Press, c1985. Series title: Studies in cinema; no. 35.
UCB Main PN1995.75 .Y68 1985

Zorkaia, Neia Markovna.
The Illustrated History of the Soviet Cinema / Neya Zorkaya. New York: Hippocrene Books, c1989.
UCB Main PN1993.5.R9 Z57 1989
UCB Moffitt PN1993.5.R9 Z57 1989

Zorkaia, Neia Markovna.
Soviet Cinema Today / N. Zorkaya. New Delhi: Panchsheel Publishers, 1988.
UCB Main PN1993.5.R9 Z63 1988

Russia/Soviet Union: Journal Articles

Attwood, L.
"Men, machine guns, and the mafia - Post-Soviet Cinema as a Discourse on Gender." Women's Studies International Forum 18.5 (Sept 1995): 513(9).
UC users only
"Recent Russian cinema has been dominated by representations of the mafia, a catch-all term embracing anyone involved in organised crime, protection racketeering, etc. A number of Russian film critics have offered a symbolic reading of such films, arguing that the mafia represents the political chaos and the breakdown in public order in post-Soviet society. This essay suggests an alternative reading: that these films can be understood as a discourse on gender. Analysing six recent films, the author seeks to demonstrate that although they do not overtly applaud the actions of the mafia, they do celebrate traditional conceptions of masculinity, and that they can be said to accord with the perception, widespread in post-Soviet Russia, that the move to the market -- with its resurrection of individualism, entrepreneurship, risk-taking, and ruthlessness -- is releasing men from decades of feminisation wrought by the ''nanny state.''" [Expanded Academic Index]

Batchan, Alexander
"Mad Russian: interview with V. Dyomin." Film Comment v. 23 (May/June 1987) p. 48-51
"Part of a special section on the impact of glasnost on Soviet cinema. Since his election last year as first secretary of the Soviet Filmmakers Union, Elem Klimov has worked to promote Gorbachev's new policy of glasnost and to advance the new image of Soviet cinema. He and his allies have secured the release of many previously banned films, including Gleb Panfilov's The Theme, Tengiz Abuladze's Repentance, Alexei German's My Friend Ivan Lapshin, and Klimov's own Rasputin. They are also working to lift the ideological restrictions imposed on foreign films, including works by Federico Fellini, Michelangelo Antonioni, and the late emigre director Andrei Tarkovsky. In an interview, Victor Dyomin, a renowned Soviet film critic and a secretary of the board of the Soviet Filmmakers Union, discusses the state of film criticism in the Soviet Union and the reconstruction of the Soviet film industry." [Art Index]

Beumers, Birgit.
"Soviet and Russian blockbusters: a question of genre?." Slavic Review 62.3 (Fall 2003): 441-14.
The emergence of the concept of blockbuster is examined within the context of its relevance in the history of Soviet and Russian cinema. The blockbuster is a genre film, which follows certain conventional patterns and thereby cradles the spectator in a (false) security.

Bogomolov, Yuri.
" The Revitalization of the Soviet Film Industry." Journal of Communication, vol. 41 no. 2. 1991 Spring. pp: 39-45.

Boym, Svetlana.
"Stalin's Cinematic Charisma: Between History and Nostalgia." Slavic Review v51, n3 (Fall, 1992):536 (7 pages).
"The depiction of Stalin in glasnost-era Soviet feature films was influenced by European films on fascism, Hollywood docudramas, surrealism and traditional intergeneric Soviet films. These films depicted Stalin from the Stalinists' point of view, thus forcing viewers to deal with his charisma, their nostalgia for a communist paradise that never existed and their victimization by Stalin and his henchmen. These films were not straightforward critiques of Stalinism, but tried to expose the mythmaking machinery of the totalitarian state." [Expanded Academic Index]

Budiak, Liudmila M.
"'We Cannot Live This Way': Reflections on the State of Contemporary Soviet Film."Film Quarterly, vol. 44 no. 2. 1990-1991 Winter. pp: 28-33.

Cavendish, Philip
"The Men With the Movie Cameras: The Theory and Practice of Camera Operation Within the Soviet Avant-Garde of the 1920s." Slavonic & East European Review; Oct2007, Vol. 85 Issue 4, p684-723, 40p

Chapron, Joel
"Blockbuster à la russe." Cahiers du Cinéma no. 605 (October 2005) p. 56-7
"Russian cinema is experiencing something of a comeback. The film industry in Russia collapsed both artistically and economically with the fall of the Soviet Union. Since then, rising prices have meant that only American majors have been able to afford to advertise across the whole country. In this context, the success of Timour Bekmambetov's Night Watch has provided a boost to other producers and television stations. Of the 286 new films released in Russia in 2004, 51 were Russian, an increase of 25 percent on the previous year." [Art Index]

Corliss, Richard.
"Censors Day Off." (new attitudes towards sex and rebellion in Soviet films) (Special Issue: the New USSR) Time v133, n15 (April 10, 1989):127 (2 pages).

Denkin, Harvey
"Linguistic Models in Early Soviet Cinema." Cinema Journal, Vol. 17, No. 1. (Autumn, 1977), pp. 1-13.
UC users only

Doane, Mary Ann.
"Melodrama, Temporality, Recognition: American and Russian Silent Cinema." Cinefocus, vol. 2 no. 1. 1991 Fall. pp: 13-26.

Dobrenko, Evgeny.
"Soviet Comedy Film: Or, The Carnival of Authority." Discourse, vol. 17 no. 3. 1995 Spring. pp: 49-57.

Eagle, Herbert.
"Soviet Cinema Today: On the Semantic Potential of a Discredited Canon." (Perestroika and Soviet Culture) Michigan Quarterly Review v28, n4 (Fall, 1989):743 (18 pages).

Eisenstein, S., et. al.
"Sergei Eisenstein: 'The middle of the three'." Studies in Russian & Soviet Cinema v. 1 no. 2 (2007) p. 211-33
UC users only
"In the first complete published translation of an article that first appeared in the November-December 1934 issue of Sovetskoe kino (no. 11/12), Sergei Eisenstein charts his own route to becoming a film director, and, in the process, distinguishes three five-year periods in the evolution of cinema since the October Revolution in 1917, focusing on the importance of "the middle of the three" for the elaboration of the crucial elements of cinema specificity." [Art Index]

Eisenstein, Sergei.
"Problems of Soviet Historical Films." Film Criticism, Fall78, Vol. 3 Issue 1, p1-16, 16p
UC users only
"The article presents the English translation of the Sergie M. Eisenstein lenghty paper "Problemy sovetskogo istoricheskogo fil'ma," which delivered during a film conference. It states that the paper discusses several aesthetic, technical, and theoretical questions related to Soviet historical films, such as the nature of historical truth, the primary task of Soviet artists, and the relationship of film to literature. The discussion uses the Marxist perspective as the sole and authoritative ideological guide for Soviet filmmakers. Further, the paper also cites the difference between historical text to historical film."

Gillespie, David
"Reconfiguring the Past: The Return of History in Recent Russian Film." Journal of Contemporary Film 3 Issue: 2 August 2009 Page(s): 185-199
UC users only
Russian cinema has often returned to its traditions in order to explore ways forward, and nowhere is this truer than in the historical film. Originally seen as a means of legitimizing the (Soviet) present, the cinematic investigation of history has tended in recent years not only to debunk past ideologies, but also to create new myths as pointers to the future. Directors whose recent work is included in this study are Nikita Mikhalkov, Andrei Konchalovskii, Pavel Chukhrai, Alexander Sokurov and Gleb Panfilov. [ABSTRACT FROM AUTHOR]

Goder, Dina
"Moving pictures: the little-known history of Russian animation: the masters of Russian and Soviet animation rank among the world's greatest artists of the genre. But not many outside the industry know their names or have ever seen their work." Russian Life Nov-Dec 2003 v46 i6 p24(9) (4862 words) Moving pictures: the little-
UC users only

Gourevich, Leonid.
"At the Crossroads." (Soviet cinema in the glasnost era) Journal of Film and Video v44, n1&2 (Spring-Summer, 1992):19 (11 pages).

dt>Graffy, Julian.

"'Cinema is Life': Recent Studies of Russian and Early Soviet Cinema." The Slavonic and East European Review, vol. 70 no. 3. 1992 July. pp: 505-10.

Graffy, Julian.
"K for Kino." (history of Russian and Soviet cinema) Sight and Sound v7, n4 (April, 1997):28 (4 pages).
"The art of cinema was introduced in Russia when the Lumiere Brothers brought their cinematograph there in 1896. Among the best films that the Russian and Soviet cinema have produced over the years were 'The Battleship Potemkin' (1925), 'The Man with the Movie-Camera' (1928), 'Chapaev' (1934), 'The Colour of Pomegranates' (1969), 'My Friend Ivan Lapshin' (1984) and 'The Asthenic Syndrome' (1989). A chronological account of film in Russia is presented."

Guneratne, Anthony R.
"Journey to Pordenone: Russian Film in the Twilight of the Romanovs." Cinefocus, vol. 1 no. 1. 1990 Jan. pp: 13-24.

Gourevich, Leonid.
"At the crossroads. (Soviet cinema in the glasnost era)." Journal of Film and Video 44.n1&2 (Spring-Summer 1992): 19(11).
"Soviet documentary films made during glasnost (1986-89) pay more attention to subject matter than to artistry. Still, many of these documentaries manage to present socially relevant themes in a sufficiently artistic way. Filmmakers, however, need more confidence and a better understanding of their individuality. They should express their ideas with a constant effort toward originality." [Expanded Academic Index]

Hansen, Miriam.
"Deadly Scenarios: Narrative Perspective and Sexual Politics in Pre-Revolutionary Russian Film." Cinefocus, vol. 2 no. 2. 1992 Spring. pp: 10-19.

Harvey, B. D.
"Soviet-American 'cinematic diplomacy' in the 1930s: could the Russians really have infiltrated Hollywood?." Screen (London, England) v. 46 no. 4 (Winter 2005) p. 487-98
"The writer investigates the conflicting interests of Hollywood in the USSR and of the Soviet film industry in Hollywood during the key period before and after U.S. diplomatic recognition of the Soviet Union in 1933. He examines how this event affected film exchange between the two countries and discusses planned but unrealized projects that can be explained by a specific historical context and that can shed light on the impact of politics on culture and vice-versa." [Art Index]

Hicks, Jeremy.
"The international reception of early soviet sound cinema: Chapaev in Britain and America." Historical Journal of Film, Radio and Television 25.2 (June 2005): 273(17).
Soviet sound film, in general, had no appeal beyond the borders of the Soviet Union just like the Russian language dialogue of early sound films, which was an insurmountable obstacle for spectators outside Soviet Russia. However, Chapaev film's enjoyed level of success almost unprecedented for a foreign language in Spain as well as in USA.

Hoberman, J.
"The Communist Musical." Film Comment v33, n4 (July-August, 1997):32 (6 pages).

Honarpisheh, Farbob
"The Oriental 'Other' in Soviet Cinema, 1929-34." Critique: Critical Middle Eastern Studies 14.2 (Summer 2005): 185(17).
UC users only

Jamie, Miller.
"Soviet cinema, 1929-1941: The development of Industry and Infrastructure." Europe-Asia Studies 58.1 (Jan 2006): 103(22).
"The development of the Soviet film industry in the 1920s and 1930s is explored and it is argued that the rise of Soviet cinema as an industry was hampered by a lack of technical equipment and the know-how to produce this. It is demonstrated that the absence of an infrastructure and an industry to produce the technical equipment for film production and demonstration making the industry dependent on West." [Expanded Academic Index]

Johnson, Vida T.
"The Search for a New Russia in an "Era of Few Films" Russian Review, Vol. 56, No. 2 (Apr., 1997), pp. 281-285
UC users only

Jones, J.P.
"Post-Soviet Russian cinema." World and I 13.n11 (Nov 1998): 108(6).

Karriker, Alexandra Heidi.
"Soviet Women and Glasnost: Vistas from Fiction and Film." West Virginia University Philological Papers, vol. 38. 1992. pp: 246-57.

Kepley, Vance, Jr.
"Building a National Cinema: Soviet Film Education, 1918-1934." Wide Angle, vol. 9 no. 3. 1987. PAGES: 4-20.

Kepley, Vance, Jr.
"'Film Seance': The Role of Speech in Soviet Film Exhibitions of the 1920s." Wide Angle, vol. 15 no. 1. 1993 Jan. pp: 6-27.

Lively, Adam.
"Old World Avant-garde." (Soviet films) (column) Times Literary Supplement, n4493 (May 12, 1989):512 (2 pages).

Mamoon, Trina R.
"Pride and Panic: Russian Imagination of the West in Post-Soviet Film." Canadian Slavonic Papers. Sep-Dec 2007. Vol. 49, Iss. 3/4; p. 424 (2 pages)
UC users only

Menashe, Louis
"Chapayev and Company: Films of the Russian Civil War." Cineaste v. 30 no. 4 (Fall 2005) p. 18-22
UC users only
"The writer discusses films made about the Russian Civil War. As with Soviet films of the Second World War, films of the Russian Civil War overlook may issues and details, including the great savagery on both sides. As Soviet films, they were inescapably constructed in accordance with the rules laid down by the political bosses, but creativity slipped through, resulting in some terrific cinema, even if filmmakers kept quiet about certain things. The films created by the young Soviet regime included Vsevolod Pudovkin's Storm over Asia, by far the most colorfully set and visually arresting of a classic trilogy created by Pudovkin in tribute to the Russian Revolution and Civil War. In 1934, Sergei and Georgy Vasilyev directed Chapayev, a splendid achievement and enormously popular film about Red Army commander and Civil War martyr Vasily Chapayev. The only irony in several of the Civil War films produced in 1967 to honor the 50th anniversary of the Bolshevik Revolution is in the fact that some of the best, including Andrei Smirnov's Angel, were shelved immediately for taking impermissible liberties." [Art Index]

Mouratov, Sergei.
"The Unknown Cinema: Documentary Screen, Glasnost Era." (Soviet documentaries)Journal of Film and Video v44, n1&2 (Spring-Summer, 1992):9 (10 pages).

Navailh, Francoise.
"The Emancipated Woman: Stalinist Propaganda in Soviet Feature Film 1930-1950." (Special Issue: The Forties: Sexual Politics in Film and Television)Historical Journal of Film, Radio and Television v12, n3 (Sept, 1992):203 (13 pages).
"Stalinism reached its height in the 1940s. Soviet feature films in the late 1930s till World War 2 broke out in 1941 depicted women as symbols of strength and loyalty to the state. Women's roles were drastically changed in film to initiate Stalin's sexual and political revolution. The emancipation of women was an assurance of state loyalty. By the 1950s, women's roles in film reverted to the everyday scenes of hearth and home, no more as symbols of strength but of placid acceptance." [Expanded Academic Index]

Plakhov, Andrei.
"Soviet Cinema Into the 90s." Sight and Sound v58, n2 (Spring, 1989):80 (6 pages).

Poplovsky, Vitali.
"Waiting for Comedy: A Glance at the Development of Soviet Film Laughter."New Orleans Review, vol. 17 no. 1. 1990 Spring. pp: 88-93.

Prokhorov, Alexander.
"From Family Reintegration to Carnivalistic Degradation: Dismantling Soviet Communal Myths in Russian Cinema of the Mid-1990s." Slavic and East European Journal; Summer 2007, Vol. 51 Issue 2, p272-294, 23p
UC users only

Prokhorov, Alexander.
"Yellow Crocodiles and Blue Oranges: Russian Animated Film since World War II." The Russian Review. Jul 2006. Vol. 65, Iss. 3; p. 528 (2 pages)

Pruner, Ludmila Zebrina.
"The New Wave in Kazakh cinema. (cinema in former Soviet Central Asia)." Slavic Review 51.n4 (Winter 1992): 789(11).
"New Wave Kazakh cinema was widely acclaimed in the former USSR during the late 1980s. Films which were independently produced by the Central Asian states in the former USSR, presented a new and refreshing artistic form which gained popularity among critics during the 1989 International Film Festival which was held in Moscow. Although technical limitations severerly hampered producers of New Wave films, they were able to effectively communicate the life of the culturally unique peoples of Central Asia." [Expanded Academic Index]

Rosenberg, Karen.
"'The Most Important Art': Movies in the Soviet Union." Nation v247, n15 (Nov 21, 1988):526 (4 pages).

"The Russian Cinema, 1908-1917: A Critical Perspective, Part II."
Cinefocus, vol. 2 no. 2. 1992 Spring. (special issue)

Saunders, Thomas J.
"Art, ideology, and entertainment in Soviet cinema." Canadian Journal of History 30.n1 (April 1995): 85(8).
UC users only

Shcherbenok, Andrey.
"This Is Not a Pipe: Soviet Historical Reality and Spectatorial Belief in Perestroika and Post-Soviet Cinema." Slavonica, Nov2011, Vol. 17 Issue 2, p145-155, 11p
UC users only

Smith, D.
"Soviet Film in the Sixties."Russian Literature Triquarterly, vol. 7. 1973. pp: 321-41.

Smith, Michael G.
"Cinema for the "Soviet East": national fact and revolutionary fiction in early Azerbaijani film." Slavic Review 56.n4 (Winter 1997): 645(34).
"The Bolsheviks saw film as a medium to further the Marxist ideology and this is demonstrated through a study of Azerbaijani film history. The social realism of cinema allowed Russian filmmakers to impose their version of reality on ethnic minorities. It became a vehicle for propaganda that reinforced stereotypes about the eastern peoples. The ethnic groups did not accept the imposed reality and national pride and awareness survived." [Expanded Academic Index]

Sperling, Valerie.
"Peeking Behind the Celluloid Curtain: Glasnost and Explicit Sex." (sex in the Soviet cinema)Journal of Popular Film and Television v18, n4 (Wntr, 1991):154 (10 pages).

Stites, Richard.
"Doing Film History in the Soviet Union: A Research Note." The Russian Review, vol. 50 no. 4. 1991 Oct. pp: 481-83.

Stojanova, Christina
"The new Russian cinema and the new Russian society." Kinema; Fall 1998, Issue 10, p5-18, 14p

Taylor, Richard.
"Singing on the Steppes for Stalin: Ivan Pyr'ev and the Kolkhoz musical in Soviet cinema." Slavic Review (Spring 1999): 143(1).

Taylor, Richard.
"Soviet Cinema - The Path to Stalin." (analysis of pre-World War II films) History Today v40 (July, 1990):43 (6 pages).

Thomas, Paul.
"Stalinism and Soviet Cinema." Film Quarterly 50.n1 (Fall 1996): 63(2).

Tsivian, Yuri (ed.)
"The Russian Cinema, 1908-1917: A Critical Perspective, Part I."
Cinefocus, vol. 2 no. 1. 1991 Fall.

Vaucher, Andrea R.
"Hollywood on the Volga." (American film makers in the Soviet Union) American Film v16, n4 (April, 1991):34 (4 pages).

Widdis, Emma.
"An Unmappable System: The Collapse of Public Space in late-Soviet Film." Film Criticism v21, n2 (Winter, 1996):8 (16 pages).
UC users only
"Soviet film since the collapse of the Soviet Union has treated public space as fragmented and outside history while portraying home as a place of refuge regardless of its physical location. Moscow, once the Soviet capital, is often reduced to decorative images. Soviet filmmakers have turned from portraying Russian national identity in favor of exploring individual character." [Expanded Academic Index]

Williamson, Anne.
"Rubles of the Game." (sex in Soviet films) Film Comment v25, n1 (Jan-Feb, 1989):23 (3 pages).

Youngblood, Denise J.
"Americanitis: The Amerikanshchina in Soviet Cinema."Journal of Popular Film and Television v19, n4 (Wntr, 1992):148 (9 pages).

Youngblood, Denise J.
"The Fate of Soviet Popular Cinema During the Stalin Revolution."Russian Review v50, n2 (April, 1991):148 (15 pages).

Alexander Dovzhenko

Books on/by Dovzhenko

Dovzhenko, Alexander
The poet as filmmaker; selected writings Cambridge, Mass., MIT Press, [1973]
MAIN: PN1998.A3 .D6413 1973; Storage Info: B 3 569 850
MOFF: PN1998.A3 .D6413 1973
MAIN: PN1998 .D623131 1973; Storage Info: B 3 567 130
PFA : PN1998.3.D69 D682 1973

Kepley, Vance
"Ukrainian pastoral: how Alexander Dovzhenko brought the Soviet avant-garde down to earth." Film Comment v 38 no3 May/June 2002. p. 58-61
UC users only

Kepley, Vance
In the Service of the State: The Cinema of Alexander Dovzhenko / Vance Kepley, Jr. Madison, Wis.: University of Wisconsin Press, 1986.
UCB Main PN1998.A3 D6481 1986
UCB Moffitt PN1998.A3 D648 1986

Liber, George.
Alexander Dovzhenko : a life in Soviet film London : BFI Pub., 2002.
MAIN: PG3948.D6 L53 2002
PFA : PN1998.3.D69 L52 2002;

Nebesio, Bohdan Y.
Alexander Dovzhenko: A Guide to Published Sources / compiled and introduced by Bohdan Y. Nebesio. Edmonton: Canadian Institute of Ukrainian Studies Press, 1995. Series title: Occasional research reports; research rept. no. 58.
UCB Main PN1998.3.D69 N43 1995

Journal Articles on Dovzhenko

Carynnyk, Marco (ed. & tr.)
"Alexander Dovzhenko's 1939 Autobiography." Journal of Ukrainian Studies, vol. 19 no. 1. 1994 Summer. pp: 5-28.

Hosejko, Lubomir.
"Olexander Dovzhenko: Poet of the Seventh Art." UNESCO Courier (July-August, 1994):66 (2 pages).

Kepley, Vance
"Motion Picture Review: "Earth" and "Arsenal"." Russian Review July 1994 vol 53, issue 3 pp: 427-4284

Kepley, Vance, Jr.
"Dovzhenko and Montage: Issues of Style and Narration in the Silent Films." Journal of Ukrainian Studies, vol. 19 no. 1. 1994 Summer. pp: 29-44.

Keply, Vance, Jr.
"The Scientist as Magician: Dovzhenko's Michurin and the Lysenko Cult." Journal of Popular Film and Television, vol. 8 no. 2. 1980. pp: 19-26.

Kepley, Vance, Jr.
"Strike Him in the Eye: Dovzhenko's Aerograd and the Stalinist Terror." Post Script: Essays in Film and the Humanities, vol. 2 no. 2. 1983 Winter. pp: 37-54.

Kepley, Vance, Jr.
"Ukrainian pastoral: how Alexander Dovzhenko brought the Soviet avant-garde down to earth." Film Comment v 38 no3 May/June 2002. p. 58-61
UC users only
"Director Alexander Dovzhenko was the most prominent of a lively avant-garde artistic group to come out of the Soviet Ukraine in the 1920s. He is best known in the West for his so-called Ukrainian trilogy of epic silent works concerning the Soviet revolution--Zvenigora in 1928, Arsenal in 1929, and Earth in 1930. Firmly established in the canon of silent films, this trilogy ensures that Dovzhenko continues to be mentioned in the same breath as Soviet contemporaries Eisenstein, Pudovkin, and Vertov. Dovzhenko's Ukrainian national identity feature in appreciations of him as a kind of rural bard, and he, along with several writers and artists, attempted to formulate a Ukrainian national voice in the context of Soviet artistic culture." [Art Abstracts]

Liber, George O.
"Adapting to the Stalinist order: Alexander Dovzhenko's psychological journey, 1933-1953." Europe - Asia Studies. Nov 2001. Vol. 53, Iss. 7; p. 1097

Mayne, Judith.
"Soviet Film Montage and the Woman Question." Camera Obscura, vol. 19. 1989 Jan. pp: 25-52.

Monastireva-Ansdell, Elena.
"Redressing the Commissar: Thaw Cinema Revises Soviet Structuring Myths." The Russian Review 65.2 (April 2006): 230(20).

Nebesio, Bohdan Y. (ed.)
"The Cinema of Alexander Dovzhenko."Journal of Ukrainian Studies, vol. 19 no. 1. 1994 Summer.

Nebesio, Bohdan Y.
"A Compromise with Literature? Making Sense of Intertitles in the Silent Films of Alexander Dovzhenko." Canadian Review of Comparative Literature/Revue Canadienne de Litterature Comparee, vol. 23 no. 3. 1996 Sept. pp: 679-700.

Osadnik, Waclaw M.
"Toward a Formal Semiotic Analysis of Dovzhenko's Arsenal." Journal of Ukrainian Studies, vol. 19 no. 1. 1994 Summer. PAGES: 85-110.

Perez, Gilberto
"Dovzhenko: Folk Tale and Revolution" Film Quarterly Vol. 64, No. 4 (Summer 2011), pp. 17-21
UC users only

Sarkisova, Oksana
"Present Perfect or Present Progressive? Temporality in Early Soviet Avant-Garde Visual Arts."Studies in Slavic Cultures January 2000 vol. 1 pp: 103-132
Smith, Murray.
"The Influence of Socialist Realism on Soviet Montage: The End of St. Petersburg, Fragment of an Empire, and Arsenal." Journal of Ukrainian Studies, vol. 19 no. 1. 1994 Summer. pp: 45-65.

Williams, Bruce.
"A Mirror of the Cinema: Poetic Discourse and Autotelic Aesthetics in Dovzhenko's Earth." Journal of Ukrainian Studies, vol. 19 no. 1. 1994 Summer. pp: 67-83.

Sergei Eisenstein

Books
Journal Articles
Articles/Books on individual Eisenstein films:

Books and Videos on Eisenstein

Aumont, J. (Jacques)
Montage Eisenstein / Jacques Aumont; translated by Lee Hildreth, Constance Penley, and Andrew Ross. London: BFI Pub.; Bloomington: Indiana University Press, c1987. Series title: Theories of representation and difference.
UCB Main PN1998.A3 E5334131 1987
UCB Moffitt PN1998.A3 E5334131 1987

Barna, Ion.
Eisenstein, by Yon Barna. With a foreword by Jay Leyda. Bloomington, Indiana University Press [1973]. Series title: Cinema two.
UCB Main PN1998.A3 E534131
UCB Moffitt PN1998.A3 E53413

Barthes, Roland
"Diderot, Brecht, Eisenstein." In: The Responsibility of Forms: Critical Essays on Music, Art, and Representation / Roland Barthes. pp: 89-97. 1st ed. New York: Hill and Wang, 1985.
Main Stack P99.B29513 1985
Moffitt P99.B29513 1985
Grad Svcs XMAC H852 R47 Modern Authors Collection

Bollag, Brenda
"From the avant-garde to Socialist Realism : some reflections on the signifying procedures in Eisenstein's Stachka and Donskoi's Raduga." In: The Culture of the Stalin period / edited by Hans Gunther. New York : St. Martin's Press, 1990.
Main Stack NX556.A1.C85 1990

Bordwell, David.
The cinema of Eisenstein : with a new preface by the author New York : Routledge, 2005.
PFA : PN1998.3.E37 B67 2005
MAIN: PN1998.3.E34 B67 2005

Bordwell, David.
The Cinema of Eisenstein / David Bordwell. Cambridge, Mass.: Harvard University Press, 1993.
UCB Main PN1998.3.E34 B67 1993

Brakhage, Stan.
The Brakhage Lectures: Georges Melies, David Wark Griffith, Carl Theodore Dreyer, Sergei Eisenstein. Chicago, The GoodLion [1972].
NRLF B 3 569 759 Type EXP NRLF for loan details.

Burch, Noel
"Sergei M. Eisenstein." In: In and Out of Synch: The Awakening of a Cine-dreamer / Noel Burch; translated by Ben Brewster. London: Scolar; 1991.
Main Stack PN1993.5.U6.B87 1991

The Complete Films of Eisenstein, Together with an Unpublished Essay by Eisenstein.
Translated by John Hetherington. [1st ed.]. New York, Dutton, 1974 [c1972].
UCB Main PN1998.A3 E5675131 1974
UCB Moffitt PN1998.A3 E567513 *c2 copies

The Complete Films of Eisenstein, Together with an Eisenstein at Ninety
Edited by Ian Christie and David Elliott. Oxford: Museum of Modern Art, c1988.
UCB Main PN1998.A3 E545 1988
UCB Main PN1998.A3 E5421 1988

Deleuze, Gilles
"Griffith and Eisenstein." In: The Movement-Image / translated by Hugh Tomlinson and Barbara Habberjam. Minneapolis : University of Minnesota, c1986.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1994 .D39313 1986b

Eagle, Herbert.
"Eisenstein as a Semiotician of the Cinema." In: The Sign: Semiotics Around the World/ R. W. Bailey, L. Matejka and P. Steiner, editors. pp: 173-93. Ann Arbor: Michigan Slavic Publications, c1978. Michigan Slavic contributions; no. 9

Eisenstein at 100: a reconsideration
Edited by Al LaValley and Barry P. Scherr. New Brunswick, N.J.: Rutgers University Press, c2001.
MAIN: PN1998.3.E34 E325 2001

Eisenstein : l'ancien et le nouveau
Sous la direction de Dominique Chateau, Francois Jost, Martin Lefebvre. Paris : Publications de la Sorbonne, 2001.
MAIN: PN1998.3.E34 E584 2001

Eisenstein Rediscovered
Edited by Ian Christie and Richard Taylor. London; New York: Routledge, 1993. Series title: Soviet cinema.
Full-text available online (UC Berkeley users only)
UCB Main PN1998.3.E34 E33 1993
UCB Moffitt PN1998.3.E34 E33 1993

Eisenstein, Sergei.
Les ecrits mexicains de S.M. Eisenstein Paris : Harmattan, 2001.
MAIN: PN1997.E4183 E58 2001

Eisenstein, Sergei.
Eisenstein: Three Films / edited by Jay Leyda; translated by Diana Matias. 1st U.S. ed. New York: Harper & Row, c1974.
UCB Main PN1997.A1.E371 1974 NRLF
UCB Moffitt PN1997.A1 E37

Eisenstein, Sergei
Film Essays and a Lecture by Sergei Eisenstein. Edited by Jay Leyda. Foreword by Grigori Kozintsev. New York, Praeger [1970]. Series title: Praeger film books.
UCB Moffitt PN1994 .E32 1970

Eisenstein, Sergei
Film Essays and a Lecture by Sergei Eisenstein; edited [and translated from the Russian] by Jay Leyda, foreword by Grigori Kozintsev. London, Dobson, 1968.
UCB Main PN1994 .E52 1968

Eisenstein, Sergei
Film Form; Essays in Film Theory, [by] Sergei Eisenstein. Edited and translated by Jay Leyda. New York, Harcourt, Brace [c1949]. Series title: A Harvest book HB153.
UCB Main PN1995 .E5
UCB Moffitt PN1995 .E5

Eisenstein, Sergei
The Film Sense; tr. and ed. by Jay Leyda. New York, Harcourt, Brace [1947].
UCB Moffitt PN1995 .E52 1947

Eisenstein, Sergei
The Film Sense [New ed.]. London Faber and Faber [1948].
UCB Grad Svcs PN1995 .E52 1948
UCB Moffitt PN1995 .E52 1948

Eisenstein, Sergei
"Imitation as Mastery. Lecture at La Sarraz Conference on Independent Film." In: Inside the film factory : new approaches to Russian and Soviet cinema / edited by Richard Taylor and Ian Christie. London ; New York, NY : Routledge, 1991.
Main Stack PN1993.5.R9.I57 1991
Moffitt PN1993.5.R9.I57 1991

Eisenstein, Sergei
Immoral Memories: An Autobiography / by Sergei M. Eisenstein; translated by Herbert Marshall. Boston: Houghton Mifflin, 1983.
UCB Main PN1998.A3 E519 1983
UCB Moffitt PN1998.A3 E519 1983

Eisenstein, Sergei
The montage of film attractions (1924) In: The European cinema reader / edited by Catherine Fowler. London ; New York : Routledge, 2002.
Main Stack PN1993.5.E8.E97 2002
PFA PN1993.5.E8.E97 2002

Eisenstein, Sergei
Nonindifferent Nature / Sergei Eisenstein; translated by Herbert Marshall. Cambridge; New York: Cambridge University Press, 1987. Series title: Cambridge studies in film.
UCB Main PN1995 .E5313 1987
UCB Moffitt PN1995 .E5313 1987

Eisenstein, Sergei
Notes of a Film Director. With a note by Richard Griffith. New York, Dover Publications [1970].
UCB Moffitt PN1998.A3 E523

Eisenstein, Sergei
Notes of a Film Director. [Compiled and edited by R. Yurenev. Translated from the Russian by X. Danko.]. Moscow, Foreign Languages Pub. House [1959?]. Series title: Arts library.
UCB Main PN1998.A3 E57 A52

Eisenstein, Sergei
October; and, Alexander Nevsky / by Sergei Eisenstein; edited by Jay Leyda; translated by Diana Matias. London: Lorrimer, 1985. Series title: Classic film scripts.
UCB Main PN1997.A1 E5 1984

Eisenstein, Sergei
On the Composition of the Short Fiction Scenario / Sergei M. Eisenstein; translated by Alan Y. Upchurch; with an introductory note by Jay Leyda. Calcutta: Seagull Books and Eisenstein Cine Club; New York: Distributed by Apt Books, Inc., c1984.
UCB Main PN1997.85 .E351 1984

Eisenstein, Sergei
A Premature Celebration of Eisenstein's Centenary / edited with an introductory note by Jay Leyda; translated by Alan Y. Upchurch ... [et al.]. Calcutta: Seagull Books, 1985. Series title: Eisenstein; 2. Series title: A Classic collection.
UCB Main PN1998.A3 E5181 1985

Eisenstein, Sergei
"Provisional instructions to Kino-eye groups (1926)." In: The European cinema reader / edited by Catherine Fowler. London ; New York : Routledge, 2002.
Main Stack PN1993.5.E8.E97 2002
PFA PN1993.5.E8.E97 2002

Eisenstein, Sergei
The Psychology of Composition / edited and translated by Alan Upchurch; with a preface by Jay Leyda. Calcutta: Seagull books, 1987.
UCB Main PN203 .E571 1987

Eisenstein, Sergei
Selected Works/ S.M. Eisenstein. London: BFI Pub.; Bloomington: Indiana University Press, 1988-1996.
UCB Main PN1998.3.E34 A25 1988 v.1-4 (1988-1996)
UCB Moffitt PN1998.3.E34 A25 1988 v.1-2,4 (1988-1995)

Eisenstein, Sergei
Selected Works, 1934-47 / S.M. Eisenstein; edited by Richard Taylor; translated by William Powell. London: BFI Pub.; Bloomington: Indiana University Press, 1996. Series title: Eisenstein, Sergei, 1898-1948 Selected works; v. 3.
UCB Main PN1998.3.E34 A25 1996

Eisenstein, Sergei
The Soviet Screen, by S. Eisenstein. Moscow, Foreign Languages Pub. House, 1939.
UCB Bancroft x HX15 .Y3 v.87:8

Eisenstein, Sergei
"Yermolova." In: Tekstura : Russian essays on visual culture / edited and translated by Alla Efimova and Lev Manovich ; foreword by Stephen Bann. Chicago : University of Chicago Press, 1993.
Main Stack NX556.A1.T453 1993

Film montage : the projection of modernity [Videorecording]
In this program, art historian Briony Fer analyzes the techniques and applications of film montage as they developed in the 1920s in the Soviet Union and Germany. By comparing and contrasting clips from October and Strike; Man with a Movie Camera; and Berlin - Symphony of a Great City, she illustrates how Sergei Eisenstein, Dziga Vertov, and Walter Ruttmann employed montage to address the concept of the crowd as a heroic protagonist, the collective experience of going to the cinema, and other topics. Dr. Fer also juxtaposes the ideologies of Soviet Moscow and Weimar Berlin as presented in these films.
Media Resources Center: DVD 4486

Film Theory and General Semiotics.
Somerton, Oxford: Russian Poetics in Translation; Oxford: Distributed by Holdan Books, 1981. Series title: Russian poetics in translation; v. 8.
UCB Main PN1047 .R8 v.8

Fleming, Bruce E.
"Pound and Eisenstein on the ideogram." In: Structure and chaos in modernist works New York : P. Lang, c1995
Main Stack BH301.M54.F64 1995

Goodwin, James
Eisenstein, Cinema, and History / James Goodwin. Urbana: University of Illinois Press, c1993.
UCB Main PN1998.3.E34 G66 1993

Gutierrez Alea, Tomas
The Viewer's Dialectic / Tomas Gutierrez Alea; [edited by Iraida Sanchez Oliva; translated by Julia Lesage]. Havana, Cuba (P.O. Box 4208, Havana 4): Editorial Jose Marti, c1988.
UCB Main PN1995 .G8713 1988

Hubbert, J.
"Eisenstein's theory of film music revisited: silent and early sound antecedents." In: Composing for the screen in Germany and the USSR : cultural politics and propaganda / edited by Robynn Stilwell and Phil Powrie. Bloomington : Indiana University Press, c2008.
Music ML2075.C66 2008

Iampolski, Michel
"The Invisible Text as a Universal Equivalent: Sergei Eisenstein." In: The Memory of Tiresias: Intertextuality and Film / Mikhail Iampolski; translated by Harsha Ram. pp: 221-43. Berkeley: University of California Press, c1998.
Main Stack PN1995.I1813 1998

Kepley, Vance, Jr.
"Eisenstein and Soviet Cinema." In: Defining Cinema/ edited and with an introduction by Peter Lehman. pp: 37-55. New Brunswick, N.J.: Rutgers University Press, c1997. Rutgers depth of field series
Main Stack PN1995.D38 1997 37-55.

Laboratory of dreams : the Russian avant-garde and cultural experiment
Edited by John E. Bowlt and Olga Matich. Stanford, Calif. : Stanford University Press, c1996.
Grad Svcs DK246.L33 1996 Non-circulating; may be used only in Graduate Services
Main Stack DK246.L33 1996

Lary, Nikita M.
"Eisenstein's Cinema of Cruelty." In: Dostoevsky and Soviet Film: Visions of Demonic Realism / N.M. Lary. Ithaca: Cornell University Press, c1986.
Main Stack PG3328.Z7.F5641 1986
Moffitt PG3328.Z7.F564 1986

Law, Alma H.
Meyerhold, Eisenstein, and biomechanics: actor training in revolutionary Russia Jefferson, N.C.: McFarland, c1996.
GRDS: PN2728.M4 L38 1996; Non-circulating; may be used only in Graduate Services.
MAIN: PN2728.M4 L38 1996

Leyda, Jay
Eisenstein at Work / by Jay Leyda & Zina Voynow; introduction by Ted Perry. 1st ed. New York: Pantheon Books: Museum of Modern Art, c1982.
UCB Main PN1998.A3 .E556 1982
UCB Moffitt PN1998.A3 .E556 1982

DISSERTATION
Lovgren, Hakan.
Eisenstein's Labyrinth: Aspects of a Cinematic Synthesis of the Arts / Hakan Lovgren. Stockholm, Sweden: Almqvist & Wiksell International, [1996]. Series title: Acta Universitatis Stockholmiensis. Stockholm studies in Russian literature 31.
NRLF B 4 171 943 Type EXP NRLF for loan details.

The Master's House[Videorecording]
A biographical look at the renowned Soviet director and filmmaker, Sergei Eisenstein, which reveals the intellectual, political and social currents running through his life and work. Structured as a series of chapters, or "houses", each portrays a particular time and place of his life. The film vividly recreates the Riga of his youth, the St. Petersburg of his teens, and the Moscow of his artistic coming of age, all captured through extensive rare documentary footage, photographs and films by other filmmakers and Eisenstein's own filmic creations. 102 min.
Media Center Video/C 6072

The montage principle: Eisenstein in new cultural and critical contexts
Edited by Jean Antoine-Dunne with Paula Quigley. Amsterdam; New York: Rodopi, 2004.
MAIN: PN1998.3.E38 M66 2004
Contents: Foreword: Eisenstein's aesthetics: Eisenstein in the 21st century / Geoffrey Nowell-Smith -- Introduction. Introducing Eisenstein's theory / Jean Antoine-Dunne; General introduction / Jean Antoine-Dunne and Paula Quigley -- Sergei Eisenstein: the life and times of a boy from Riga / Richard Taylor -- Eisenstein's regenerative aesthetics: from montage to mimesis / Arthur McCullough -- The politics of sound and image: Eisenstein, artifice and acoustic montage in contemporary feminist cinema / Debbie Ging -- Healing the rupture: the influence of Eisenstein on the work of Ritwik Ghatak / Anne Sheridan -- Time and space in their indissoluble connection: towards an audio-visual Caribbean aesthetic / Jean Antoine-Dunne -- Eisenstein, montage and 'filmic writing' / Paula Quigley -- Reflections on Eisenstein and digital imagery: of mice and men / Paul Willemen -- Beckett, Eisenstein and the image: making an inside an outside / Jean Antoine-Dunne.

Montagu, Ivor Goldsmid Samuel
With Eisenstein in Hollywood; A Chapter of Autobiography by Ivor Montagu, including the scenarios of Sutter's Gold and American tragedy. New York, International Publishers [1969, c1967]. Series title: New world paperbacks NW-S-4.
UCB Moffitt PN1998.A3 .E558 1967
NRLF $B 384 353

Montani, Pietro
"El Greco / Sergei Eisenstein -- The uncrossable threshold : the relation of painting and cinema in Eisenstein." In: The visual turn : classical film theory and art history / edited and with an introduction by Angela Dalle Vacche. New Brunswick, N.J. : Rutgers University Press, c2003.
Main Stack PN1995.25.V57 2003

Moussinac, Leon
Sergei Eisenstein. Translated by D. Sandy Petrey. New York, Crown Publisers [1970]. Series title: Editions Seghers' Cinema d'aujourd'hiu in English.
NRLF $D 62 925 Type EXP NRLF for loan details.

Nesbet, Anne.
Savage junctures: Sergei Einstein and the shape of thinking London; New York: I.B. Tauris, 2003.
MAIN: PN1998.3.E34 N47 2003

Nizhnii, V. (Vladimir)
Lessons with Eisenstein. Translated and edited by Ivor Montagu and Jay Leyda. New York, Hill and Wang [1963, c1962].
UCB Main PN1998.A3 E57 N52
UCB Moffitt PN1998.A3 E563

Perestroika and development of culture : literature, theatre, and cinema
Compiled by Yevgeni Dugin. New Delhi : Sterling Publishers, c1989.
Main Stack DK287.P47 1989

Polan, Dana B.
The Political Language of Film and the Avant-garde / by Dana B. Polan. Ann Arbor, MI: UMI Research Press, c1985. Series title: Studies in cinema; no. 30.
UCB Main PN1995.9.P6 P65 1985

A Premature celebration of Eisenstein's centenary
Edited with an introductory note by Jay Leyda ; translated by Alan Y. Upchurch ... [et al.]. Calcutta : Seagull Books, 1985.
Main Stack PN1998.A3.E5181 1985

Russian Idea.[Videorecording]
The term "The Russian Idea" is used to describe a desire for revolution, to create a utopia. In this film director Sergei Selyanov attempts to prove that 'our national films' that have become part of the world culture are connected with 'The Russian Idea' in one way or the other, using clips from the films of Eisenstein, Pudovkin and Vertov. 53 min. 1999.
Media CenterVideo/C MM445

Sergei Eisenstein, Autobiography. [Videorecording]
Based on Eisenstein's memoirs, this autobiographical film reflects the inner world of the great Russian film director during the tragic years of two Russian revolutions and the Stalin terror. The film follows Eisenstein on a long voyage abroad which he started in 1929, and presents transformed episodes from Eisenstein's films and his contemporaries, as well as rare archival shots of Eisenstein himself presented with a soundtrack of his reminiscences, which are sometimes very personal. 1996. 92 min.
Media Resources Center Video/C 7059

Sergei Eisenstein in Alma-Ata, 1941-1944. [Videorecording]
This film documents, with contemporary interviews, production stills, and archival footage the period that famed director Eisenstein spent away from Moscow during World War II. Alma-Ata is the place where Stalin evacuated the star artists of the Russian State Cinema Institute to avoid the war and to produce Ivan the Terrible. Excerpts from Eisenstein's diary and interviews with still-living colleagues establish historical context and provide insights into the filmmaker's loneliness and alienation in Alma-Ata. 72 min.
Media Resources Center Video/C 7466

Seton, Marie.
Sergei M. Eisenstein, A Biography. New York, A. A. Wyn [1952].
UCB Main PN1998.A3 .E57

Seton, Marie.
Sergei M. Eisenstein, A Biography. / by Marie Seton. Revised ed. London: Dobson, 1978.
UCB Main PN1998.A3 .E57 1978
UCB Moffitt PN1998.A3 .E57 1978

Siegel, J. F.
"Ancient Poetics and Eisenstein's Films." In: Classical myth & culture in the cinema / edited by Martin M. Winkler. Oxford ; New York : Oxford University Press, 2001.
Full-text available online (UC Berkeley users only)
Main Stack PN1995.9.M96.C59 2001
PFA PN1995.9.M96.C59 2001

Stoneking, Billy Marshall.
Eisenstein in Mexico [play] Full-text at:http://eisenstein.cjb.net/

Swallow, Norman.
Eisenstein: A Documentary Portrait / [by] Norman Swallow. London: Allen and Unwin, 1976.
UCB Main PN1998.A3 E5931

Taylor, Richard.
The Eisenstein Reader. London: British Film Institute,1998.
Main Stack PN1995.9.P7 T29 1998;

Waugh, T.
"A fag-spotter's guide to Eisenstein." In: The fruit machine : twenty years of writings on queer cinema / Thomas Waugh ; foreword by John Greyson. Durham, NC : Duke University Press, 2000.
Main Stack PN1995.9.H55.W38 2000

Winkler, Martin M., ed.
"Ancient poetics and Eisenstein's films." In: Classical myth & culture in the cinema / edited by Oxford ; New York : Oxford University Press, 2001.
Main Stack PN1995.9.M96.C59 2001
PFA PN1995.9.M96.C59 2001

Woll, Josephine
Real Images: Soviet Cinema and the Thaw / Josephine Woll. London; New York: I.B.Tauris, 2000. KINO, the Russian cinema series
Main Stack PN1993.5.R9.W76 2000

Worrall, Nick.
"Meyerhold and Eisenstein." In: Performance and Politics in Popular Drama: Aspects of Popular Entertainment in Theatre, Film and Television 1800-1976 / edited by David Bradby, Louis James, and Bernard Sharratt. pp: 173-187. Cambridge [Eng.]; New York: Cambridge University Press, 1980.
Main Stack PN1643.P4 1980

Zholkovskii,A. K.
"Eisenstein's Poetics: Dialogical or Totalitarian?" In: Laboratory of Dreams: The Russian Avant-Garde and Cultural Experiment / edited by John E. Bowlt and Olga Matich. Stanford, Calif.: Stanford University Press, c1996.
Main Stack DK246.L33 1996

Zholkovskii,A. K.
"Generative poetics in the writings of Eisenstein." In: Film theory and general semiotics. Somerton, Oxford : Russian Poetics in Translation ; Oxford : Distributed by Holdan Books,1981.
Main Stack PN1047.R8 v.8

Journal Articles and Web Resources on Eisenstein

Almendros, Nestor.
"Fortune and Men's eyes. (motion picture director Sergei Eisenstein) Film Comment v27, n4 (July-August, 1991):58 (4 pages).
"The late Soviet director Sergei Eisenstein was and continues to be disfavored in his homeland. When U.S. Customs agents found homoerotic drawings and male nude photos in his luggage, Eisenstein's homosexual inclinations were revealed in a much publicized scandal, and he was ostracized from Moscow for five years and forbidden to make another film until he married his assistant and friend Pera Atacheva. Eisenstein, who was throughout his life an obedient Communist, is now being attacked by young Russian filmmakers, who perceive him as Stalin's pawn and refuse to recognize his talents. They admire the technical skill of Potemkin (1925), which is the director's most honored work, but they feel that Eisenstein's work cannot be taken seriously. Potemkin has been considered a revolutionary film because of its treatment, editing technique, realistic cinematography and acting, and absence of a sentimental love story." [Art Index]

Aumont, Jacques.
"Eisenstein: Notes towards a Biography." Camera Obscura, vol. 13-14. 1985 Spring-Summer. pp: 50-83.

Aumont, Jacques.
"Montage Eisenstein, II: Eisenstein Taken at His Word." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 5. 1983 Spring. pp: 41-99; 100-140.

Barthes, Roland.
"Third meaning: notes on some of Eisenstein's stills." Artforum v. 11 (January 1973) p. 46-50

Bartlett, Rosamund.
"The Embodiment of Myth: Eizenshtein's Production of 'Die Walkure.'" (film maker Sergei Eisenstein) Slavonic and East European Review v70, n1 (Jan, 1992):53 (24 pages).

Beller, Jonathan L.
"The Spectatorship of the Proletariat,"boundary 2 , Vol. 22, No. 3 (Fall 1995):171-228.

Briley, Ron
"Sergei Eisenstein: The Artist in Service of the Revolution." The History Teacher, Vol. 29, No. 4. (Aug., 1996), pp. 525-536.
UC users only

Burns, P.E.
"Cultural Revolution, Collectivization, and Soviet Cinema."Film & History XI/4, Dec 81; p.84-96.
On the social and cultural context of "Staroe i novoe" and "Zemlja", emphasizing differences in their style and outlook.

Bukatman, Scott
"Battles with Songs: The Soviet Historical Film as Historical Document."Persistence of Vision /3-4, Summer 86; p.23-34.
Considers the Soviet films "Oktjabr'", " Staroe i novoe" and "Simfonija donbassa" as documents from the period of their creation

Carroll, Noel
"For God and country" (sequence of shots by Eisenstein) Artforum v 11 Jan 1973. p. 56-60

Cavendish, R.
"February 11th, 1948 - Death of Sergei Eisenstein." History Today, 1998 Feb, V48 N2:32-33.

Chaitanya K.
"The Eisensteinian Image and The 'Ramayana'" Indian Horizons V34; N3-4; 1985;

Christie, Ian.
"Eisenstein at 90." Sight and Sound v57, n3 (Summ, 1988):181 (8 pages).

Clark, Katerina
"Eisenstein's Two Projects for a Film about Moscow." Modern Language Review, vol. 101, no. 1, pp. 184-200, Winter 2006

Costanzo, William V.
"Joyce and Eisenstein: Literary Reflections of the Reel World." Journal of Modern Literature, vol. 11 no. 1. 1984 Mar. pp: 175-180.

Davydova, Marina
"The rise of Sergei Eisenstein." (interview with museum director Naum Kleiman concerning the Russian artist Eisenstein)(Interview)Moscow News, Jan 29, 1998 n3 p12(1)
Eisenstein Memorial Apartment Museum director Naum Kleiman defends the works of film director Sergei Eisenstein's works from ethical criticisms. Kleiman claims that the films 'Ivan the Terrible,' and 'The Battleship Potemkin' did not condone violence and tyranny. He also feels that Eisenstein and his works should not be limited to either modernism or classicism. Furthermore, Eisenstein's legacy to the Russian cinema was his effort to combine the cinema with other arts and traditions." [Expanded Academic Index]

Durgnat, R.
"Futurism & the movies." Art & Artists v. 4 (February 1969) p. 10-15

Eby, Lloyd
"Eye on Eisenstein."World and I, June 1998 v13 n6 p100(6)
UC users only
" Filmmaker Sergei Eisenstein rejected the notion that dialogue is the dominant element in theater. Central to his film theory is the idea of montage. He believed film should be constructed in brief segments that reinforce and counterpoint one another. Eisenstein's films are didactic and he is most noted for his widely varied interests and doctrines." [Expanded Academic Index]

"Eisenstein at 100" [3 article special section]
October (Cambridge, Mass) no88 Spring 1999. p. 42-85
UC users only
A special section on the writings of Sergei Eisenstein on the occasion of the centenary of his birth. The section features articles on Eisenstein's work as a theorist, the use of quotation in his theoretical writings, and the effort to assimilate his writings with the work of Georges Bataille.

Eisenstein, Sergei
"The Birth of a Film."Hudson Review 4:2 (1951:Summer) 208

Eisenstein, Sergei; Yve-Alain Bois; Michael Glenny
"Montage and Architecture." Assemblage, No. 10. (Dec., 1989), pp. 110-131.
UC users only

Eisenstein, Sergei
"Montage of Attractions." Drama Review 18:1 (1974:Mar.) 77

Eisenstein, Sergei
"The Soviet Cinema." Masses and Mainstream 3:11 (1950:Nov.) 26

Eisenstein, Sergei
"Notes for a Film of Capital",October 2, 1976, Summer 1976, pp. 3-26
UC users only

Eisenstein, Sergei
"Through Theatre to Cinema." Theatre Arts 20 (1936) 735

"Film as Opera." (Sergei Eisenstein) Economist v309, n7571 (Oct 8, 1988):92 (2 pages).

"Film's Great Might-have-been." (film director Sergei Eisenstein)(Brief Article)Economist v346, n8061 (March 28, 1998):79 (2 pages).

Fleming, Bruce E.
"The Ideogram in Pound and Eisenstein: Sketch for a Theory of Modernism." (Ezra Pound; Sergey Mikhaylovich Eisenstein) Southwest Review v74, n1 (Wntr, 1989):87 (11 pages).

Goodwin, James.
"Eisenstein, Ecstasy, Joyce, and Hebraism."Critical Inquiry, Spring 2000 v26 i3 p529
UC users only

Goodwin, J.
"Plusieurs-Eisensteins - Recent Criticism (Survey On Recent Studies On Sergei Eisenstein)" Quarterly Review Of Film and Video V6; N4; 1981

Gottesman, R.
"Sergei Eisenstein & Upton Sinclair." Sight & Sound v. 34 no. 3 (Summer 1965) p. 142-3

Grant, Barry K.
"Whitman and Eisenstein." Literature/Film Quarterly 4:3 (1976:Summer) 264

Harrah, D.
"Aesthetics of the film: the Pudovkin-Arnheim-Eisenstein theory." The Journal of Aesthetics and Art Criticism v. 13 (December 1954) p. 163-74

Iampolski, Mikhail
"Theory as quotation." October (Cambridge, Mass) no88 Spring 1999. p. 51-68
"Part of a special section on the writings of Sergei Eisenstein on the occasion of the centenary of his birth. The writer discusses the use of quotation in Eisenstein's theoretical writings. In these writings, Eisenstein as a protean figure is hidden behind the mutual exclusiveness of the trends to which he refers. Working with theories as if they were literary sources, he usually extracts one moment or statement from the whole theoretical construction of a predecessor, decontextualizes it, and regards this statement exactly as he would a fragmented quotation. Thus, rather than seeing particular propositions as autonomous truths, he views them as fragments longing for integration into some textual and semantic whole. This pattern is a good model of Eisensteinian montage, in which opposites and polarities are constantly absorbed within a synthesizing circle. It could also serve as a chart for Eisenstein's theorization at work: a movement from an opposition of poles to a total, narcissistic, empathic absorption into an all-devouring all-absorbing instance." [Art Abstracts]

Ingster, Boris
"Serge Eisenstein." (Films and Film Makers Abroad) Hollywood Quarterly, Vol. 5, No. 4. (Summer, 1951), pp. 380-388.
UC users only

Kahn, Douglas.
"Eisenstein and Cartoon Sound." SoundCulture website

Kepley, Vance, Jr.
"Eisenstein as Pedagogue."Quarterly Review of Film and Video v14, n4 (August, 1993):1 (16 pages)
"The Russian film director Sergei Eisenstein developed his theory of film making while teaching at the Soviet Union's Institute of Cinematography in the 1930s. He conducted a workshop on directing from 1932 to 1935. He used the workshop both to model the artistic film experience by creating and to explore the aesthetic theory of film with his students. His ideas of image and representation were created then, used as instruction for his students and refined in the process. These ideas from the 1930s became central to his film theory of montage and organicism." [Expanded Academic Index]

Kepley, Vance, Jr.
"The Evolution of Eisenstein's "Old and New"." Cinema Journal, Vol. 14, No. 1. (Autumn, 1974), pp. 34-50.
UC users only

Kiernan, Maureen.
"Making Films Politically: Marxism in Eisenstein and Godard." Alif: Journal of Comparative Poetics, vol. 10. 1990. pp: 93-113 (1st sect.)

Kolchevska, Natasha.
"The Faktoviki at the Movies: Novyj Lef's Critique of Ejzenstejn and Vertov." Russian Language Journal, vol. 41 no. 138-139. 1987. pp: 139-151.

Kracauer, Siegfried.
"In Eisenstein's Workshop."Kenyon Review, 5:1/4 (1943) 151

Kuiper,John B.
"Cinematic Expression: A Look at Eisenstein's Silent Montage." Art Journal, Vol. 22, No. 1. (Autumn, 1962), pp. 34+36-39.
UC users only

Kuiper,John B.
"The Stage Antecedents of the Film Theory of S. M. Eisenstein." Educational Theatre Journal, Vol. 13, No. 4. (Dec., 1961), pp. 259-263.
UC users only

Kulesov, Lev
"Kuleshov, Eisenstein, and the Others. Part II: Kuleshov on Eisenstein." Film Journal I/3-4, Fall-Winter 72; p.24-33.
Contains translation of L.K.'s reminiscences of Ejzenstejn published in 'Nedelia', 1969, and L.K.'s analysis of "Stacka" and "Bronenosec Potemkin" published in S.M. Ejzenstejn: "Bronenosec Potemkin", 1926.

Kulesov, Lev
"Kuleshov, Eisenstein, and the Others. Part II: Kuleshov on Eisenstein."Film Journal I/3-4, Fall-Winter 72; p.24-33.
Contains translation of L.K.'s reminiscences of Ejzenstejn published in 'Nedelia', 1969, and L.K.'s analysis of "Stacka" and "Bronenosec Potemkin" published in S.M. Ejzenstejn: "Bronenosec Potemkin", 1926.

Kushnirov, Mark.
"A Different Look at Eisenstein." (criticism and interpretation of drawings of esteemed Russian film director, Sergie Eisenstein) Moscow News, n5 (Feb 3, 1995):10.

Le Fanu, Mark.
"Writing in Images: the Eisenstein Enigma." Encounter v72, n2 (Feb, 1989):44 (6 pages).

Lefanu, M.
"Writing In Images, The Eisenstein Enigma." Encounter 72: (2) 44-49 Feb 1989

Lefebvre, Martin
"Eisenstein, Rhetoric and Imaginicity: Towards a Revolutionary Memoria."Screen 414 [Winter 2000] 349-368
"A belief in the power of images to institute a memory as a coherent, organized, and unified way of seeing the world is shared by filmmaker Sergei Eisenstein and St. Ignatius of Loyola. In his discussion of the global image, Eisenstein touches on an implicit aim of Loyola's Spiritual Exercises that constitutes a kind of mnemonic device and attempt to elaborate a memoria, an individual and collective memory, which forms the core of Jesuit rhetoric and preaching. For Eisenstein, the dialectic laws of nature guarantee a connection between the individual memoria of the spectator (or filmmaker) and a collective memoria. Both Loyola's exercitant and Eisenstein's spectator are considered according to the power of memory and their ability to project images onto the "inner cinema" of the soul or mind. In principle, the spectator, much like Loyola's exercitant, is relatively free in using his imagination, in creating his own memoria, but only within the confines of proposed topoi, or locations, which frame the labor of imagination and ensure its shaping of memory." [Art Abstracts]

Levaco, Ronald
"The Eisenstein-Prokofiev Correspondence." Cinema Journal, Vol. 13, No. 1. (Autumn, 1973), pp. 1-16.
UC users only

Levine, Norma.
"The Influence of the Kabuki Theater on the Films of Eisenstein." Modern Drama, Toronto, vol. 12. 1969. pp: 18-29.

Liebman, Stuart.
"Que Viva Eisenstein?: A Life for the Revolution." (influence of filmmaker Sergei Eisenstein)Cineaste, Fall 2001 v26 i4 p6
UC users only
"Negotiating the byways and contradictions of the highly unusual life of Soviet filmmaker Sergei Eisenstein has been the main task assumed by his biographers for more than half a century. In the last four years alone, almost a dozen works on Eisenstein have appeared, including two major print biographies and a surprisingly large number of new career surveys on film and video. The diverse origins of these new ventures signal Eisenstein's definitive emergence as a European cultural icon transcending national boundaries. The resourceful dredging up of new material attests to the impassioned will to understand this complex man and the times that shaped him, although puzzling and perhaps unanswerable questions about his motives and actions linger. The writer goes on to survey these recent works on Eisenstein and to consider the challenges faced by their makers." [Art Abstracts]

Lyssiotis, Peter; McQuire, Scott
"Liquid architecture: Eisenstein and film noir." Architectural Design (London, England) v 70 no1 Jan 2000. p. 6-8
"Part of a special section on film and architecture. The city role in the cinematic landscape is discussed. In 1930, director Sergei Eisenstein wrote a synopsis for a film that dealt with the social life experienced in glass buildings. Though rejected, the scenario's concern with the new configurations of social existence and sexual desire produced by urban density and architectural transparency have periodically recurred in cinema, most prominently in Hitchcock's Rear Window, but also in the 1990s in Phillip Noyce's Sliver. Dark City (1998) conjures a compendium of noir elements, including seedy hotels and shadowy streets, and keeps faith with the noir tradition in which redemption from the night world is the job of an isolated individual. However, the film not only exploits new cinematic possibilities of digital imaging but also provides a parable for the mutation of the cityscape that proceeded apace with urban "redevelopments" in the 1980s and 1990s." [Art Abstracts]

Machado, Arlindo.
"Eisenstein: A Radical Dialogism." Dispositio: Revista Americana de Estudios Comparados y Culturales/American Journal of Comparative and Cultural Studies, vol. 6 no. 17-18. 1981 Summer-Fall. pp: 119-130.

Mayne, Judith.
"Soviet Film Montage and the Woman Question." Camera Obscura, vol. 19. 1989 Jan. pp: 25-52.

Maddow, Ben
"Eisenstein and the Historical Film." Hollywood Quarterly, Vol. 1, No. 1. (Oct., 1945), pp. 26-30.
UC users only

Michelson, Annette
"Eisenstein at 100: recent reception and coming attractions." October (Cambridge, Mass) no88 Spring 1999. p. 69-85
"Part of a special section on the writings of Sergei Eisenstein on the occasion of the centenary of his birth. The writer discusses the effort to assimilate Eisenstein's writings with the work of Georges Bataille. Bataille was editor of and constant contributor to Documents, which aimed to redefine and remap a critical-discursive field for the consideration of artistic and other cultural practices. The starting point for Eisenstein-Bataille parallelism is a two-fold conception of montage as the organizing principle of both artistic practice and critical theory: Montage is seen as structuring and articulating the discourse of Documents and is represented in Eisenstein's technique of "intellectual montage." However, the two projects should not be identified or confused by superficial morphological similarity or "resemblance;" Bataille's project was one of transgressive assault and ruination, but for Eisenstein the cinema promised a wholly new and privileged access to a fuller and more intimate understanding of the phenomenal world and its transformation." [Art Abstracts]

Michelson, Annette
"Eisenstein at 100: Recent Reception and Coming Attractions." October, Vol. 88. (Spring, 1999), pp. 69-85.
UC users only

Michelson, Annette
"Reading Eisenstein Reading "Capital" October, Vol. 2. (Summer, 1976), pp. 26-38.
UC users only

Michelson, Annette
"Reading Eisenstein Reading "Capital" (Part 2) October, Vol. 3. (Spring, 1977), pp. 82-89.
UC users only

Morley, Catherine
"Don DeLillo's Transatlantic Dialogue with Sergei Eisenstein." Journal of American Studies, vol. 40, no. 1, pp. 17-34, Spring 2006
"Don DeLillo has expressed concern with the tendencies of modern media technology, especially that of television, video, and mass-produced Hollywood film, throughout his fictional corpus, which suggests a characteristically contemporary affinity between the criminal act and the manner of its simultaneous recording. Sergei Eisenstein, in 1924, directed a proliterian play entitled `Gas Works' which is appropriated by DeLillo in his novel, 'Underworld' as a means of articulating the democratic aptitude of film/art." [Expanded Academic Index]

Mottram, Eric
"Eisenstein, Sergei, 1898-1948." Cambridge Review 74 (1952:Oct.-1953:June) 520

Neuberger, Joan
"Eisenstein's Angel."The Russian Review Volume 63 Page 374 - July 2004
UC users only

Newcomb,James W.
" Eisenstein's Aesthetics." The Journal of Aesthetics and Art Criticism, Vol. 32, No. 4. (Summer, 1974), pp. 471-476.
UC users only

Newton, Joy.
"Zola and Eisenstein." French Review: Journal of the American Association of Teachers of French, vol. 44. Spec. issue . pp: 106-16.
UC users only

Odin, S.
"The Influence Of Traditional Japanese Aesthetics On The Film Theory Of Sergei Eisenstein."Journal Of Aesthetic Education, V23; N2; 1989; 69-81
UC users only

Oeler, Karla
"A Collective Interior Monologue: Sergei Parajanov and Eisenstein's Joyce-Inspired Vision of Cinema." Modern Language Review, vol. 101, no. 2, pp. 472-87, Spring 2006
The interior monologues of James Joyce's Ulysses and Lev Vygotsky's work on inner speech profoundly impacted Sergei Eisenstein's development of the concept and practice of cinema as sensual thought. This article claims that twenty years after Eisenstein's death, Sergei Parajanov achieves a new cinematic realization of inner speech in The Colour of Pomegranates, a work profoundly influenced by Eisenstein's last films, Ivan the Terrible Parts I and II.

Perry, T.
"Sergei Eisenstein - A Career In Pictures."American Film V8; N4; 1983

Polan, Dana B.
"Eisenstein as Theorist" Cinema Journal, Vol. 17, No. 1. (Autumn, 1977), pp. 14-29.
UC users only

Richardson, Paul E.
"The first master of Russian film." (film director Sergei Eisenstein)Russian Life Feb 1998 v41 n2 p37(6) (2966 words)
UC users only
" Russian filmmaker Sergei Eisenstein was one of the Stalin Prize laureates. It was the first part of the three-part 'Ivan the Terrible (1945)' which won him the award. Among other films he was famous for was 'Battleship Potemkin' 1925, 'Que Viva Mexico' 1931 and 'Alexander Nevsky' 1938." [Expanded Academic Index]

Rubenstein, Joshua
"The dictator's cut: Stalin made life miserable for Sergei Eisenstein, but the director got his revenge." The New York Times Book Review June 27, 1999 v104 i26 p31 col 1 (35 col in)

Sanchezbiosca V
"Montage And Spectator, Eisenstein And The Avant-Garde." Semiotica 81: (3-4) 277-289 1990

Scheunemann D
"The Art Of Montage In Theater And Film, Observations On Eisenstein And Brecht." Essays Poetics 15: (2) 1-29 1990

Seton, Marie
"Second Thoughts on Eisenstein." Soviet Studies, Vol. 6, No. 2. (Oct., 1954), pp. 113-123.
UC users only

Seydor, P.
"Eisenstein's aesthetics: a dissenting view." Sight & Sound v. 43 no. 1 (Winter 1973-1974) p. 38-43

Sitney, P. Adams.
"Three Filmmakers as Culture Heroes." Yale Review v82, n4 (Oct, 1994):102 (19 pages).

Smith, Greg M.
"Moving Explosions: Metaphors of Emotion in Sergei Eisenstein's Writings." Quarterly Review of Film and Video v. 21 no. 4 (October/December 2004) p. 303-15
"The writer examines Sergei Eisenstein's conceptions of the emotions. In one of his most famous categorizations, Eisenstein argues that emotion is a helpful tool fully congruent with a cinematic appeal to humanity's highest faculties (the cognitive). In later writings, however, he argues that the highest goal the cinema can achieve is ecstasy and pathos--emotional aims rather than intellectual ones. Yet at other times Eisenstein speaks of cognition and the emotions as being at cross purposes. Casting Eisenstein in a new light as a theorist/practitioner who is as consistently concerned with emotion as he is with montage, the writer notes that as he changes his metaphorically rooted understanding of emotion, his aesthetic system changes. He contends that his reorientation makes him see the emotions as not merely the engine upon which the cinematic mechanism depends but both the guiding principle upon which filmmakers make every artistic decision and the ultimate aspiration for spectators." [Art Index]

Sorensen, Janet.
"Lef, Eisenstein, and the Politics of Form." Film Criticism, vol. 19 no. 2. 1994-1995 Winter. pp: 55-74.
UC users only
"The writer considers the relationship between director Sergei Eisenstein's sophisticated formal experiments and the changes in consciousness taking place in a revolutionary period. She notes that Eisenstein was a contributor to Lef, the periodical of the Left Front of the Arts, which constantly grappled with the relationships among representation, meaning, and official history. She examines the debate over extrinsic and intrinsic forces in the Soviet Union of the 1920s as it took place in Lef; the theoretical writings of Eisenstein; and his film October--a monumentalization of the events of the 1917 revolution. She also illustrates that in October, Eisenstein overturns more than the conventions of representation by rethinking the social meaning and construction of time and space in "history writing." [Art Abstracts]

Stollery, Martin.
"Einstein, Shub and the gender of the author as producer." Film History, 2002, Vol. 14 Issue 1, p87, 13p
UC users only

Tall, Emily.
"Eisenstein on Joyce: Sergei Eisenstein's Lecture on James Joyce at the State Institute of Cinematography November 1, 1934." James Joyce Quarterly, vol. 24 no. 2. 1987 Winter. pp: 133-142.

Taylor, G. T.
"The Cognitive-Instrument-In-The-Service-Of-Revolutionary-Change(Film-Directors Sergei Eisenstein, Annette Michelson, and the Avant-Garde's Scholarly Aspiration)" Cinema Journal V31; N4; 1992; 42-59
UC users only

Taylor, Richard.
"Eisenstein and the English." Journal of European Studies v20, n79 (Sept, 1990):241 (23 pages).

Taylor, Richard.
"Eisenstein: His Role in The History of Cinema and His Reputation in the Soviet-Union and the World - 1898-1948-1988." Historical Journal Of Film Radio and Television 8: (2) 189-193 1988

Van Wert, William F.
"Eisenstein and Kabuki." Criticism: A Quarterly for Literature and the Arts, vol. 20. 1978. pp: 403-20.

Vlasov, Eduard.
"Overcoming the Threshold: Bakhtin, Eisenstein, and the Cinema of German Expressionism." Canadian Review of Comparative Literature/Revue Canadienne de Litterature Comparee, vol. 23 no. 3. 1996 Sept. pp: 659-78.

Vlasov, Eduard.
"Scissors and Glue: Tynjanov's Theory of Verse Language and the Notion of Montage in Early Eisenstein." Culture & Language, vol. 28 no. 1. 1994 Oct. pp: 89-125.

Waugh, T.
"A fag-spotter's guide to Eisenstein." In: The fruit machine : twenty years of writings on queer cinema / Thomas Waugh ; foreword by John Greyson. Durham, NC : Duke University Press, 2000.
Main Stack PN1995.9.H55.W38 2000
PFA PN1995.9.H55.W38 2000

Werner, Gosta; Gunnemark, Erik.
"James Joyce and Sergej Eisenstein." (their meeting in Paris, 1929) James Joyce Quarterly v27, n3 (Spring, 1990):491 (17 pages).

Wees, William C.
"Dickens, Griffith and Eisenstein: Form and Image in Literature and Film." The Humanities Association Review/La Revue de l'Association des Humanites, vol. 24. 1973. pp: 266-76.

Werner, G.
"James Joyce and Sergei Eisenstein."James Joyce Quarterly 27: (3) 491-507 SPR 1990

Wollen, Peter
"Perhaps." October (Cambridge, Mass) no88 Spring 1999. p. 42-50
"Part of a special section on the writings of Sergei Eisenstein on the occasion of the centenary of his birth. Eisenstein's career as a theorist offers a much clearer picture of his aims and intentions than the films themselves. His shift from montage to synesthesia in his films was basically driven by developments in his own thinking as he confronted the new reality of sound and color as integral components of cinema. In his early writings, the idea of "intellectual montage" was a type of substitute for the absence of verbal language, except in the form of subtitles; however, through his theory of "inner speech" based on sensuous and thus imagistic thinking, he reduced dialog to a subordinate role as the secondary exteriorization of an interior reality that was the primary subject of cinema. At the end of his life, he was finally moving toward the type of film already implicit in his theoretical writings; The reason it took so long was partly because of his unease with the idea of dance, an area of performance in which he had never felt totally in control." [Art Abstracts]

Xenakis, Iannis
"Eisenstein et les masses." Cahiers du Cinema no443/444 supp May 1991. p. 62

Zambrano, Ana L.
"Charles Dickens and Sergei Eisenstein: The Emergence of Cinema." Style, vol. 9. 1975. pp: 469-87.

Zholkovskii, A. K.
"Eisenstein's poetics: dialogical or totalitarian?." In: Laboratory of dreams : the Russian avant-garde and cultural experiment / edited by John E. Bowlt and Olga Matich. Stanford, Calif. : Stanford University Press, c1996.
Grad Svcs DK246.L33 1996
Main Stack DK246.L33 1996

Alexander Nevsky

Balter, L.
"Alexander Nevsky."Film Culture /70-71, 83; p.43-87.
How the demands of the artist and the State were met through the dramatic and psychological content and structure of "Aleksandr Nevskij".

Eisenstein, Sergei.
Eisenstein: Three Films / edited by Jay Leyda; translated by Diana Matias. 1st U.S. ed. New York: Harper & Row, c1974.
UCB Main PN1997.A1.E371 1974 NRLF
UCB Moffitt PN1997.A1 E37)

Eisenstein, Sergei
October; and, Alexander Nevsky / by Sergei Eisenstein; edited by Jay Leyda; translated by Diana Matias. London: Lorrimer, 1985. Series title: Classic film scripts.
UCB Main PN1997.A1 E5 1984

Firstenberg, J.P.
"Alexander Nevsky: A Classic Collaboration."American Film XIII/2, Nov 87; p.65.
Reports on the restoration of the film and its exhibition with live orchestral accompaniment.

Gallez, Douglas W.
"The Prokofiev-Eisenstein Collaboration: "Nevsky" and "Ivan" Revisited." Cinema Journal, Vol. 17, No. 2. (Spring, 1978), pp. 13-35.
UC users only

Merritt, Russell.
"Recharging 'Alexander Nevsky'; Tracking the Eisenstein-Prokofiev War Horse."Film Quarterly v48, n2 (Winter, 1994):34 (14 pages).
UC users only
"A discussion of the interaction between image and music in the film Alexander Nevsky, on the occasion of a showing of the film accompanied by a live orchestra in March 1993 in San Francisco. Director Sergei M. Eisenstein and composer Sergei Prokofiev began work on Nevsky in the late 1930s, at a time when both men were being denounced by Soviet authorities. Seeing Nevsky as a chance to rehabilitate themselves, and mindful of the fact that Stalin was taking a personal interest in the project, they produced a straightforward war propaganda film meant to stir Russian sentiment against the Germans. Eisenstein later said that collaborating with Prokofiev to create new dialectical theories of integrating music into film was the only rewarding aspect of working on the film. The article discusses the influence of the Disney studio on Prokofiev's approach to scoring Nevsky, the poor sound quality of the final soundtrack, and the qualities of Prokofiev's score, which comments on and occasionally even contradicts the images on the screen." [Art Abstracts]

Nichols, Peter M.
"Eisenstein's epic battle on the ice."The New York Times Oct 3, 1999 pAR24(N) pAR24(L) col 6 (15 col in)

Quint, D.
"Ossian, medieval "epic," and Eisenstein's Alexander Nevsky." In: Epic and empire : politics and generic form from Virgil to Milton / David Quint. Princeton, N.J. : Princeton University Press, c1993.
Main Stack PN1303.Q56 1993

Rothstein, Edward
"Alexander Nevsky." (Living Arts Pages) (movie reviews)The New York Times Oct 28, 1991 v141 pB1(N) pC13(L) col 5 (22 col in)

Turner, George
"Alexander Nevsky Comes Back in Style." American Cinematographer LXVIII/11, Nov 87; p.90-92,94,96.
Background on the film, on the occasion of its reissue with live orchestral performance of Prokofiev score.

Battleship Potemkin

The Battleship Potemkin
Edited by Herbert Marshall. New York: Avon Books, c1978.
PN1997.B7573 .B3 Main Stack

Battleship Potemkin
Sergei Eisenstein. London: Faber, 1988.
PN1997.A1 .E36 1968 Moffitt
PN1997.P6 E383 Main Stack

Biltereyst, D.
"'Will we ever see Potemkin?': The historical reception and censorship of Eisenstein's "Battleship Potemkin" in Belgium (1926-32)." Studies in Russian & Soviet Cinema v. 2 no. 1 (2008) p. 5-19
UC users only
"Although Belgium was considered during the interwar years to be a liberal film market without any adult film censorship at all, Soviet movies were heavily boycotted. Just as in other countries, Sergei Eisenstein's Battleship Potemkin (1925) was a highly contested and controversial case in point. After a short overview of Potemkin's turbulent historical reception and censorship in neighbouring countries such as France. Germany, the Netherlands and the United Kingdom, this article concentrates upon the exhibition career and the reception of the film in Belgium, more specifically upon how various groups and institutions in Belgian society joined forces in order to prevent the movie from being shown. The article tries to understand Potemkin as a meaningful social event and as a site of struggle, where the film became the target of intense pressures, ideological debate, and different types of censorship. These 'disciplining' forces ranged from central government, the national film control board and local municipalities to various political groups and film trade organizations. Reprinted by permission of the publisher." [Art Index]

Eisenstein, Sergei
The Battleship Potemkin [by] Sergei Eisenstein; translated from the Russian by Gillon R. Aitkin. London, Lorrimer Publishing Co., 1968.
UCB Moffitt PN1997.A1 .E36 1968
UCB Moffitt PN1997.A1 E36 1984 (another edition)
NRLF B 3 568 014

Eisenstein, Sergei.
Eisenstein: Three Films / edited by Jay Leyda; translated by Diana Matias. 1st U.S. ed. New York: Harper & Row, c1974.
UCB Main PN1997.A1.E371 1974 NRLF
UCB Moffitt PN1997.A1 E37

Fabe, Marilyn
"The art of montage: Sergei Eisenstein's The battleship Potemkin." In: Closely watched films : an introduction to the art of narrative film technique / Marilyn Fabe. Berkeley : University of California Press, c2004.
Main Stack PN1995.9.E9.F17 2004
Moffitt PN1995.9.E9.F17 2004
PFA PN1995.9.E9.F17 2004
Table of contents http://www.loc.gov/catdir/toc/ecip0413/2004000202.html

Gerould, Daniel.
"Simulation and Popular Entertainment: The "Potemkin" Mutiny from Reconstructed Newsreel to Black Sea Stunt Men." Drama Review 33:2 (1989:Summer) 161

Gottlieb, Sidney.
"Milton's 'On the Late Massacre in Piemont' and Eisenstein's Potemkin." Milton Quarterly, vol. 19 no. 2. 1985 May. pp: 38-42.

Kauffmann, Stanley
"Landmarks of Film History: Potemkin." Horizon, 15:2 (1973:Spring) 110

LoBrutto, V.
"Editing--Russian montage: The battleship Potemkin." In: Becoming film literate : the art and craft of motion pictures / Vincent LoBrutto ; foreword by Jan Harlan. Westport, Conn. : Praeger, c2005.
Main Stack PN1994.L595 2005
Moffitt PN1994.L595 2005
PFA PN1994.L595 2005

Mayer, David.
Sergei M. Eisenstein's Potemkin; A Shot-by-shot Presentation. New York, Grossman Publishers, 1972.
UCB Main PN1997 .E38351
UCB Moffitt PN1997 .E3835

Mayne, Judith.
"Soviet Film Montage and the Woman Question." Camera Obscura, vol. 19. 1989 Jan. pp: 25-52.

Minden, Michael.
"Politics and the Silent Cinema: The Cabinet of Dr Caligari and Battleship Potemkin." In: Visions and Blueprints: Avant-Garde Culture and Radical Politics in Early Twentieth-Century Europe / edited by Edward Timms. pp: 287-306. Manchester: Manchester University Press; New York: Distributed exclusively in the U.S. and Canada by St. Martin's Press, c1988.
Main Stack D727.V531 1988

Taylor, Richard
The Battleship Potemkin : the film companion / Richard Taylor. London : I.B. Tauris, 2000.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1997.B7573 T39 2000
Pacific Film Archive PN1997.B39 T39 2000

Quint, David
"Ossian, Medieval "Epic," and Eisenstein's Alexander Nevsky." In: Epic and Empire: Politics and Generic form from Virgil to Milton / David Quint. pp: 343-68. Princeton, N.J.: Princeton University Press, c1993. Literature in history (Princeton, N.J.)
Grad Svcs PN1303.Q56 1993
Main Stack PN1303.Q56 1993

Selden D. L.
"Vision And Violence - The Rhetoric Of 'Potemkin.'" Quarterly Review Of Film And Video V7; N4; 1982
On the relation of S.M.E.'s rhetorical theories to "Bronenosec Potemkin".

Turner, George
"Potemkin." American Cinematographer v 80 no3 Mar 1999. p. 114
"Part of a special section on the top ten best-shot films made between 1894 and 1949, based on the results of American Cinematographer's first-ever readers' poll. Potemkin, directed by Sergei Eisenstein with cinematography by Eduard Tisse, has been placed eighth in the list. For this film, Eisenstein and Tisse investigated every method they could use to stun audiences, including a revolutionary use of cross-cutting. The realistic scenes they created are sharp and biting, with no apparent diffusion, and close-ups are merciless in their detail. Their technique influenced filmmakers around the globe." [Art Abstracts]

Wenden, D. J.
"Battleship Potemkin: Film and Reality." In: Feature Films as History / edited by K. R. M. Short. London: Croom Helm, 1981.
Main Stack PN1995.2.F38 1981 37-61 (another edition: Main Stack PN1995.2.F38)

Ivan the Terrible

Barthes, Roland
"The Third Meaning." [Ivan the Terrible] In: The Responsibility of Forms: Critical Essays on Music, Art, and Representation / Roland Barthes. pp: 41-62. 1st ed. New York: Hill and Wang, 1985.
Main Stack P99.B29513 1985
Moffitt P99.B29513 1985
Grad Svcs XMAC H852 R47 Modern Authors Collection

Christie, Ian
"Ivan Groznii (Ivan the Terrible)." (Review).Monthly Film Bulletin LIV/647, Dec 87; p.382-383.

Eisenstein, Sergei.
Ivan the Terrible: A Film by Sergei Eisenstein; [general editor: Sandra Wake; translated from the French by A. E. Ellis]. London, Lorrimer Publishing Ltd., 1970. Series title: Classic film scripts, 19. (UCB Main PN1997.I82 E58 1970)

Eisenstein, Sergei
Ivan the Terrible / Sergei Eisenstein; illustrations by Ivor Montagu and Herbert Marshall. London; Boston: Faber, 1989.
UCB Moffitt PN1997 .E3713 1989;
UCB Main PN1997.I82 E58 1962
UCB Moffitt PN1997 .E3713 1962

Eisenstein, Sergei; Nikolai Cherkasov; Vladimir Kobrin.
"A conversation in the Kremlin: Stalin on "Ivan the Terrible"." (motion picture)(Joseph Stalin's attitudes on motion picture; related article on military history) (transcript) Encounter Feb 1989 v72 n2 p3(4)

Gallez, Douglas W.
"The Prokofiev-Eisenstein Collaboration: "Nevsky" and "Ivan" Revisited." Cinema Journal, Vol. 17, No. 2. (Spring, 1978), pp. 13-35.
UC users only

Khitrova, Daria
"Eisenstein's choreography in Ivan the Terrible." Studies in Russian & Soviet Cinema, 2011, Vol. 5 Issue 1, p55-71, 17p
UC users only

Kinder, Marsha
"The Image of Patriarchal Power in Young Mr. Lincoln and Ivan the Terrible, Part I." Film Quarterly XXXIX/2, Winter 85-86; p.29-49. illus., bibliogr.
Examines how both films use the iconic hero as a stylistic pattern to direct the reading of the narrative, and how each comments on the contemporary political context in which they were made.

Nesbet, Anne.
"Inanimations: Snow White and Ivan the Terrible." (influence of Disney film on director Sergei Eisenstein)Film Quarterly v. 50 (Summer '97) p. 20-31.
UC users only
"Disney's Snow White was a source of inspiration for Russian director Sergei M. Eisenstein's Ivan the Terrible. In an extraordinary declaration, Eisenstein stated that Disney was "beyond good and evil," and he generally talked about Snow White in positive terms. The quality he loved in Disney characters was the way their contours could achieve constant "plasmatic" miracles of metamorphosis, and in Ivan the contours of the human figure are tortured in grotesque imitation of the plasmatic outlines of a cartoon figure. In Disney, this feature created comedy, while in Ivan the effect is grotesque and contorted, an enduring reminder of the pain involved when a figure imprisoned in a three-dimensional world is asked to behave as though fundamentally linear." [Art Index]

Neuberger, Joan
Ivan the Terrible : The Film Companion London: I.B. Tauris, 2003
Full-text available online (UC Berkeley users only)

Palmer, Christopher
"Prokofiev, Eisenstein and Ivan." The Musical Times, Vol. 132, No. 1778. (Apr., 1991), pp. 179-181.
UC users only

Perrie, Maureen
The cult of Ivan the terrible in Stalin's Russia New York : Palgrave, 2001.
MAIN: DK269.5 .P47 2001

Taruskin, Richard
"Great artists serving Stalin like a dog." (Joseph Stalin; planned revival of Sergei Eisenstein's film, 'Ivan the Terrible' with music by Sergei Prokofiev, by New York Philharmonic, is misguided) The New York Times May 28, 1995 v144 s2 pH22(N) pH22(L) col 1 (41 col in)

Thompson, Kristin. Eisenstein's
Ivan the Terrible: A Neoformalist Analysis / by Kristin Thompson. Princeton, N.J.: Princeton University Press, c1981.
UCB Main PN1997.I773 T5

Thompson, Kristin
"Ivan the Terrible and Stalinist Russia: A Reexamination." Cinema Journal XVII/1, Fall 77; p.30-43.
UC users only
Discussion of the historical figure of Ivan IV and the context of the making 'Ivan Groznyj' suggesting that it is not subtly anti-Stalinist as some reviewers have stated.

October (Ten Days That Shook the World)

Brik, O.M.
"October." (Film reviews). Screen XII/4, Winter 71-72; p.85-90.
Two criticisms of the film in the light of cin‚ma v‚rit‚ (kino pravada) protagonists. Translations from the periodical 'Novyj Lef'.

Eisenstein, Sergei.
Eisenstein: Three Films / edited by Jay Leyda; translated by Diana Matias. 1st U.S. ed. New York: Harper & Row, c1974.
UCB Main PN1997.A1.E371 1974 NRLF
UCB Moffitt PN1997.A1 E37

Eisenstein, Sergei.
October; and, Alexander Nevsky / by Sergei Eisenstein ; edited by Jay Leyda; translated by Diana Matias. London: Lorrimer, 1985. Series title: Classic film scripts.
UCB Main PN1997.A1 E5 1984

Krauss, R.
"For God and country." {sequence of shots by Eisenstein} N. Carroll. Montage {Eisenstein's} October: dialectic of the shot. Artforum v. 11 (January 1973) p. 56-65

Minden, Michael.
"The City in Early Cinema: Metropolis, Berlin and October." In: Unreal City: Urban Experience in Modern European Literature and Art / edited by Edward Timms and David Kelley. pp: 193-213. London: Manchester University Press, 1985.
UCB EnvDesign NX542 .U571 1985

Ropars-Wuilleumier, Marie-Claire.
"The Function of Metaphor in Eisenstein's "October"." Film Criticism, Winter/Spring78, Vol. 2 Issue 2/3, p10-34, 25p
UC users only

Rosenstone, Robert A.
"'October' as history." (film by Sergei Eisenstein)Rethinking History Summer 2001 v5 i2 p255(20)
Sergey Eisenstein's film 'October' is based on the events of October, 1917, when Bolsheviks seized power in Russia. Aside from some invented sequences, this film should be seen as an historical work where major events compare favorably with the interpretation of major historians

Tsivian Yuri
"Eisenstein and Russian Symbolist Culture. An Unknown script of October." In: Eisenstein rediscovered / edited by Ian Christie and Richard Taylor. London ; New York : Routledge, 1993.
Main Stack PN1998.3.E34.E33 1993
Moffitt PN1998.3.E34.E33 1993

Que Viva Mexico

Geduld, Harry M.
Sergei Eisenstein and Upton Sinclair: The Making & Unmaking of Que Viva Mexico! Edited by Harry M. Geduld & Ronald Gottesman. Bloomington, Indiana University Press [1970].
UCB Bancroft F1222.88 .G33 NRLF B 3 567 629

Hershfield, Joanne.
"Paradise Regained: Sergei Eisenstein's Que viva Mexico! as Ethnography." In: Documenting the Documentary: Close Readings of Documentary Film and Video / edited by Barry Keith Grant and Jeannette Sloniowski. pp: 55-69. Detroit: Wayne State University Press, c1998. Contemporary film and television series
Moffitt PN1995.9.D6.D58 1998

Karetnikova, Inga.
Mexico According to Eisenstein / Inga Karetnikova, in collaboration with Leon Steinmetz. 1st ed. Albuquerque: University of New Mexico Press, c1991.
UCB Main PN1998.3.E34 K37 1991
UCB Moffitt PN1998.3.E34 K37 1991

Lesser, J.
"Tisse's Unfinished Rreasure: Que Viva Mexico.American Cinematographer LXXII/7, July 91; p.34-40.
Assesses the work of cinematographer Eduard Tisse on Ejzenstejn's unfinished film "Que Viva Mexico!"

Mitchell, G.
"The Greatest Movie Never Made." (Article). American Film VIII/4, Jan-Feb 83; p.53-58.
Recounts the troubled production history of "Que Viva Mexico!".

Que Viva Mexico!
By S. M. Eisenstein; with an introduction by Ernest Lindgren. New revised ed.; afterword by Ivor Montague. London, Vision Press, 1972.
PN1997.Q37 E51 1972 Main Stack

Ramsey, Nancy
"Eisenstein's unfinished ode to an idealized Mexico." (Que Viva Mexico)(Review) The New York Times August 19, 2001 pAR18(N) pAR18(L) col 3 (15 col in)

Robé, Chris
Eisenstein in America: The Qué Viva México! Debates and the Emergent Popular Front in U.S. Film Theory and Criticism." The Velvet Light Trap 54 (2004) 18-31
UC users only

Salazinka, M.
"Addressing the dialectics of sexual difference in Eisenstein's Que viva Mexico!" Screen (London, England) v. 48 no. 1 (Spring 2007) p. 45-67
"The writer examines the "epistemological shift" in the aesthetics of the early and the late Soviet filmmaker Sergei Eisenstein. She considers Eisenstein's unfinished 1930-31 film Que viva Mexico! and its various conceptions, and also his contemporary and later writings, both personal and theoretical, about the film. She reexamines his understanding of dialectics as the structuring principle of his theoretical and artistic oeuvre by addressing in particular bisexuality and gender in light of his experience in Mexico. She connects the film's representation of women to the concept of the prelogical," which he developed chiefly during his stay in Mexico, and links transgressive sexuality to his later writing on the protoplasm and the bisex as an originary state of nature and human consciousness prior to sexual differentiation. She compares the film's images of the Day of the Dead with a Frieda Kahlo painting of the same subject and discusses the traumatic effect on Eisenstein of the loss of the footage of Que viva Mexico!" [Art Index]

Zolotnitsky D.
"The 'Mexican', As Visualised By Sergei Eisenstein." Contemporary Theatre Review V4; 1; 1995; 1-9

Strike

Kuiper, John B.
"Eisenstein's "Strike": A Study of Cinematic Allegory." The Journal of the Society of Cinematologists, Vol. 3. (1963), pp. 7-15.
UC users only

Reeder, R.
"Agit-Prop Art - Posters, Puppets, Propaganda And Eisenstein 'Strike'." Russian Literature Triquarterly (22) 255-278 1989

Nikita Mikhalkov

Beumers, Birgit
Nikita Mikhalkov : between nostalgia and nationalism / Birgit Beumers. Beumers, Birgit. London ; New York : I.B. Tauris, 2005.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1998.3.M5 B48 2005

Beumers, Birgit
"The Mikhalov Brothers' View of Russia." In: Russian and Soviet film adaptations of literature, 1900-2001 : screening the word
Edited by Stephen Hutchings and Anat Vernitski. London ; New York : RoutledgeCurzon, 2005.
MAIN: PN1997.85 .F437 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0418/2004013383.html

Christensen, Peter G.
"Nikita Mikhalkov's Revisionist Oblomov." Soviet and East-European Drama, Theatre and Film, vol. 7, no. 1, pp. 11-25, May 1987

Condee, Nancy.
""Nikita Mikhalkov: European but not Western?" In: The imperial trace : recent Russian cinema / Nancy Condee. Oxford ; New York : Oxford University Press, 2009.
Main (Gardner) Stacks PN1993.5.R9 C66 2009

Jaehne, Karen.
"Rehabilitating the Superfluous Man: The Films in the Life of Nikita Mikhalkov." Film Quarterly, Vol. 34, No. 4 (Summer, 1981), pp. 14-21
UC users only

Karen Jaehne
"Rehabilitating the Superfluous Man: The Films in the Life of Nikita Mikhalkov." Film Quarterly, Vol. 34, No. 4 (Summer, 1981), pp. 14-21
UC users only

Larsen, Susan.
"National identity, cultural authority, and the post-Soviet blockbuster: Nikita Mikhalkov and Aleksei Balabanov." Slavic Review. Fall 2003. Vol. 62, Iss. 3; p. 491
UC users only

Neuberger, Joan
"Between public and private: revolution and melodrama in Nikita Mikhalkov's Slave of love." In: Imitations of life : two centuries of melodrama in Russia Edited by Louise McReynolds and Joan Neuberger. Durham [N.C.] : Duke University Press, 2002.
Main Stack PG3089.M44.I53 2002

Norris, Stephen M.
"Tsarist Russia, Lubok Style: Nikita Mikhalkov's Barber of Siberia (1999) and Post-Soviet National Identity." Historical Journal of Film, Radio and Television, vol. 25, no. 1, pp. 101-18, Mar 2005
UC users only

Prokhorova, Elena
"Svoi sredi chuznikh, chuzhoi sredi svoikh/At Home among Strangers, a Stranger at Home: Nikita Mikhalkov, USSR, 1974." In: The cinema of Russia and the former Soviet Union
Edited by Birgit Beumers ; [preface by Sergei Bodrov]. London ; New York : Wallflower Press, 2007.
Main Stack PN1993.5.R8.C564 2007

Youngblood, Denise J.
"The Cosmopolitan and the Patriot: The Brothers Mikhalkov-Konchalovsky and Russian Cinema." Historical Journal of Film, Radio & Television 2003 23(1): 27-41 15p.
UC users only

Burnt By the Sun

Beumers, Birgit.
"Myth-Making and Myth-Taking: Lost Ideals and the War In Contemporary Russian Cinema." Canadian Slavonic Papers 2000 42(1-2): 171-189 19p.

Bulavka, Ludmila.
"Nikita Mikhalkov and Burnt by the Sun: A monarchist film-maker confronts humane socialism." New Left Review, Jan/Feb97 Issue 221, p139, 10p;
UC users only

Cavendish, P. J.
"Burnt by the Sun." The Slavonic and East European Review, Vol. 81, No. 2 (Apr., 2003), pp. 337-340
UC users only

Clark, Katerina.
"Burnt by the Sun." (movie reviews) American Historical Review v100, n4 (Oct, 1995):1223 (2 pages).
UC users only

Denby, David.
"Burnt by the Sun." (movie reviews) New Yorkv28, n18 (May 1, 1995):64 (2 pages).

James, Caryn.
"Burnt by the Sun." (movie reviews) New York Times v144 (Fri, April 21, 1995):B11(N), C6(L), col 4, 14 col in.

Johnson, Brian D.
"Burnt by the Sun." (movie reviews) Maclean's v108, n20 (May 15, 1995):73.

Kauffmann, Stanley.
"Burnt by the Sun." (movie reviews) New Republic v212, n19 (May 8, 1995):27.
UC users only

Lane, Anthony.
"Burnt by the Sun." (movie reviews) New Yorker v71, n11 (May 8, 1995):92 (3 pages).

Mechthild, Zeul
"The creation of the fetish, as illustrated by Nikita Mikhalkov's (1994) Burnt by the Sun." Psychoanalytic Psychology. Vol 19(4), Fal 2002, 767-771.

Menashe, Louis.
"Burnt by the Sun." (movie reviews) Cineaste v21, n4 (Fall, 1995):43 (2 pages).
UC users only

Mikhalkov, Nikita.
"Blind Faith." (film 'Burnt by the Sun') Sight and Sound v6, n1 (Jan, 1996):61.

Romney, Jonathan.
"Burnt by the Sun." (movie reviews) New Statesman & Society v8, n366 (August 18, 1995):29.
UC users only

Schickel, Richard.
"Burnt by the Sun." (movie reviews) Time v145, n19 (May 8, 1995):88.
UC users only

Simon, John.
"Burnt by the Sun." (movie reviews) National Review v47, n10 (May 29, 1995):63 (2 pages).
UC users only

Sobchack, Vivian.
"Burnt by the Sun." Film Comment, Jul/Aug2007, Vol. 43 Issue 4, p30-36, 5p
UC users only

Stanley, Alessandra.
"Surviving and Disturbing in Moscow." (movie director Nikita S. Mikhalkov warns about Stalinism in 'Burnt by the Sun') (Living Arts Pages) New York Times v144 (Tue, March 21, 1995):B1(N)pC15(L), col 3, 34 col in.

Travers, Peter.
"Burnt by the Sun." (movie reviews) Rolling Stone, n708 (May 18, 1995):97 (2 pages).

Ulanov, Alexander
"Burnt by the Sun." Journal of Religion and Health, Vol. 34, No. 3 (Fall, 1995), pp. 269-270
UC users only

V.I. Pudovkin

Books
Journal Articles

Books on Pudovkin

Dart, Peter.
Pudovkin's Films and Film Theory. New York, Arno Press, 1974. Series title: The Arno Press cinema program. Series title: Dissertations on film series.
UCB Main PN1998.A3 P7971

Pudovkin, Vsevolod Illarionovich
Film Technique, and Film Acting. Translated and edited by Ivor Montagu. Memorial ed. [rev. and enl.] with portrait, memoir and a rev. and completed record of the author's film work. New York, Grove Press [1960]. Series title: Evergreen original, E-248.
UCB Main 906v P977 fil
UCB Moffitt PN1995 .P832

Pudovkin, Vsevolod Illarionovich
Film technique; five essays and two addresses by V. I. Pudovkin; translated and annotated by Ivor Montagu. Enl. ed. London, G. Newnes, limited [1933]
Main Stack 906v.P977

Pudovkin, Vsevolod Illarionovich
Selected essays London ; New York : Seagull Books, 2006.
MAIN: PN1998.3.P85 A5 2006
Table of contents http://www.loc.gov/catdir/enhancements/fy0620/2006285678-t.html

Sargeant, Amy.
Vsevolod Pudovkin : classic films of the Soviet avant-garde London : Tauris, 2000.
Full-text available online (UC Berkeley users only)
MAIN: PN1998.A3 P798 2000

Zarkhi, Natan Abramovich
Mother, a Film by V. I. Pudovkin. Earth, a film by Alexander Dovzhenko. New York, Simon and Schuster [c1973]. Series title: Classic film scripts.
UCB Main PN1997.M38 P813 1973
UCB Main PN1997.M38 Z31

Journal Articles on Pudovkin

Burns, Paul E.
"Linkage: Pudovkin's Classics Revisited." Journal of Popular Film and Television, vol. 9 no. 2. 1981 Summer. pp: 70-77.

Kepley, Vance Jr.
"Pudovkin, Socialist Realism, and the Classical Hollywood Style." Journal of Film and Video Winter 1995-1996; vol. 47, issue 4 pp: 3-16
"Vsevolod Pudovkin's film, 'The Return of Vasilii Bortnikov,' reflects Hollywood's significant influence on the filmmaking techniques of Soviet Socialist Realism. The Hollywood style of continuity and narrative clarity made a great impression on Pudovkin. His technical perfection enabled him to break the storyline into shots without affecting continuity. Pudovkin's obsession with the layered form of significance drove his technique to a point of intended redundancy, thus reflecting the Stalin-era discourse of official overstatement." [Expanded Academic Index]

Nicol, Charles.
"Did Luzhin Have Chess Fever?"The Nabokovian, vol. 27. 1991 Fall. pp: 40-42.

Karaganov, Alexander (introd.)
"'My Connection with the Cinema . . . for Quarter of a Century'." Soviet Literature, vol. 10 (403). 1981. pp: 155-158.

Kepley, Vance, Jr.
"Pudovkin and the Continuity Style: Problems of Space and Narration." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 17 no. 3. 1995 Spring. pp: 85-100.

Kepley, Vance, Jr.
"Pudovkin and the Classical Hollywood Tradition."Wide Angle, vol. 7 no. 3. 1985. pp: 54-61.

Kepley, Vance, Jr.
"Pudovkin, Socialist Realism, and the Classical Hollywood Style.Journal of Film and Video XLVII/4, Winter 95-96; p.3-16. illus., bibliogr.
Considers Soviet social-realism and classical Hollywood cinema, questioning whether they are as dissimilar as believed; Pudovkin's film "Vozrascenie Vasilija Bortnikova" is selected from the releases of the Stalinist era to illustrate the extent of US influence on Soviet cinema.

Smith, Murray.
"The Influence of Socialist Realism on Soviet Montage: The End of St. Petersburg, Fragment of an Empire, and Arsenal." Journal of Ukrainian Studies, vol. 19 no. 1. 1994 Summer. pp: 45-65.

Aleksandr Sokurov

Buck-Morss, Susan
"Visual Empire." Diacritics: A Review of Contemporary Criticism, vol. 37, no. 2-3, pp. 171-198, Summer 2007
UC users only

Condee, Nancy.
"Aleksandr Sokurov: shuffling off the imperial coil." In: The imperial trace : recent Russian cinema / Nancy Condee. Oxford ; New York : Oxford University Press, 2009.
Main (Gardner) Stacks PN1993.5.R9 C66 2009

Galetski, Kirill.
"Alexander Sokurov: An Annotated Filmography." Cineaste, 2001, Vol. 26 Issue 3, p9, 1p
UC users only

Galetski, Kirill.
"The Foundations of Film Art: An Interview with Alexander Sokurov." Cineaste, vol. 26, no. 3, pp. 4-9, Summer 2001
UC users only

Galetski, Kirill.
"Vladimir Lenin According to Sokurov and Mozgovey." Cineaste; 2001, Vol. 26 Issue 3, p8, 1/2p
UC users only
Talks about the collaboration of actor Leonid Mozgovoy with director Alexander Sokurov in the motion picture `Taurus,' second work in Sokurov's planned tetralogy of films. Focus of Sokurov's tetralogy; Description of Mozgovoy's acting performance; Characters of the film; Difficulties faced by Mozgovoy and Sokurov in filming `Taurus' compared to the first film in the series, `Moloch.'

Jameson, Fredric.
"History and Elegy in Sokurov." Critical Inquiry, Autumn2006, Vol. 33 Issue 1, p1-12, 12p
UC users only

Kaganovsky, Lilya
"'I Open My Eyes and I See Nothing': Sokurov, Nostalgia, and the Limits of Vision." In: Culture et mémoire : représentations contemporaines de la mémoire dans les espaces mémoriels, les arts du visuel, la littérature et le théâtre / dir. Carola Hähnel-Mesnard, Marie Liénard-Yeterian et Cristina Marinas. Palaiseau : Ecole polytechnique, c2008.
Main (Gardner) Stacks PN56.M44 C85 2008

Pipolo, Tony
"Whispering Images: Tony Pipolo Considers the Metaphysical Cinema of Russian Filmmaker Alexander Sokurov." Film Comment Record 38:5 (September-October 2002) p. 52-53, 57, 59, 61
UC users only

Ratner, Megan.
"Alexandra." Cineaste, Spring2008, Vol. 33 Issue 2, p52-53, 2p
UC users only

Schrader, P.
"'The history of an artist's soul is a very sad history'." [interview with A. Sokurov]. Film Comment v. 33 (November/December 1997) p. 20-5
UC users only

Sedofsky, L.
"Plane songs [interview with A. Sokurov]." Artforum International v. 40 no. 3 (November 2001) p. 124-8

Szaniawski, Jeremi; Sokurov, Aleksandr
"Interview with Aleksandr Sokurov Interview with Aleksandr Sokurov." Critical Inquiry, Vol. 33, No. 1 (Autumn, 2006), pp. 13-27
UC users only

Vogel, A.
"In the Soviet orbit: Sokurov's lonely voice." [Alexander Sokurov, a major new talent]. Film Comment v. 25 (May/June 1989) p. 64+

Yampolsky, Mikhail
"Chekhov/Sokurov: Repetition and Recollection." New Formations: A Journal of Culture/Theory/Politics, vol. 22, pp. 48-58, Spring 1994

Yampolsky, Mikhail
"The World as a Mirror for the Other World." In: Russian critics on the cinema of glasnost / edited by Michael Brashinsky, Andrew Horton. Cambridge ; New York : Cambridge University Press, 1994.
Main (Gardner) Stacks PN1993.5.R92 R877 1994

Alexandra

Quandt, James
"Elegy to the Chechen Republic." Artforum International v. 46 no. 7 (March 2008) p. 97

Ratner, M.
"Alexandra.". Cineaste v. 33 no. 2 (Spring 2008) p. 52-3
UC users only

Rayns, T.
"Alexandra." Sight & Sound v. ns18 no. 10 (October 2008) p. 54
UC users only

Father and Son

Beumers, Birgit
"Aleksandr Sokurov: Father and Son." KinoKultura, First issue: July 2003

Graffy, Julian
"Father Russia." Sight and Sound, vol. 14, no. 9, pp. 22-24, Sept 2004
UC users only

Rayns, T.
"Father and Son." Sight & Sound v. ns14 no. 10 (October 2004) p. 54-5
UC users only

Mother and Son

Alaniz, José
"'Nature', Illusion and Excess in Sokurov's Mother and Son." Studies in Russian and Soviet Cinema, vol. 2, no. 2, pp. 183-204, 2008
UC users only

Buckeye, Robert
"Mother and Son." Film Quarterly, Vol. 52, No. 4 (Summer, 1999), pp. 40-42
UC users only

Graffy, J.
"Mother and son." Sight & Sound v. ns8 no. 4 (April 1998) p. 46
UC users only

Iordanova, Dina
"Mother and Son." Russian Review, Vol. 58, No. 2 (Apr., 1999), p. 310
UC users only

Russian Ark

Gillespie, David; Smirnova, Elena.
"Alexander Sokurov and the Russian Soul." Studies in European Cinema, vol. 1, no. 1, pp. 57-65, 2004

Halligan, Benjamin
"The Remaining Second World: Sokurov and Russian Ark." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 25, pp. (no pagination), Mar 2003

Harte, Time.
"A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal." Slavic Review. Spring 2005. Vol. 64, Iss. 1; p. 43
UC users only

Hashamova, Yana.
"Two Visions of a Usable Past in (Op)position to the West: Mikhalkov's The Barber of Siberia and Sokurov's Russian Ark." Russian Review, Apr2006, Vol. 65 Issue 2, p250-266, 17p
UC users only

Hoberman, J.
"And the Ship Sails On." Film Comment, vol. 38, no. 5, pp. 54, Sept 2002
UC users only

Horton, Andrew James
"Elegy to History: Aleksandr Sokurov's Russkii kovcheg (Russian Ark, 2002)." Kinoeye, vol. 2, no. 13, pp. [no pagination], Sept 2002

Johnson, William.
"Russian Ark." Film Quarterly, Vol. 57, No. 2 (Winter, 2003-2004), pp. 48-51
UC users only

Kujundzic, Dragan.
"After 'After': The Arkive Fever of Alexander Sokurov." Quarterly Review of Film and Video, vol. 21, no. 3, pp. 219-39, Summer 2004
UC users only

Macnab, Geoffrey
"Palace in Wonderland." Sight & Sound v. ns12 no. 8 (August 2002) p. 20-2
UC users only

Menashe, Louis
"Filming Sokurov's Russian Ark: An Interview with Tilman Büttner." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 28, no. 3, pp. 21-23, Summer 2003
UC users only

Nadel, Alan
"Second Nature, Cinematic Narrative, the Historical Subject, and Russian Ark." In: A companion to narrative theory / edited by James Phelan and Peter J. Rabinowitz. Malden, MA ; Oxford : Blackwell Pub., 2005.
Main (Gardner) Stacks PN212 .C64 2005

Ostrowska, Dorota
"Sokurov's Russian Ark." Film-Philosophy, vol. 7, pp. (no pagination), 2003

Ravetto-Biagioli, Kriss.
"Floating on the Borders of Europe Sokurov's Russian Ark." Film Quarterly. Fall 2005. Vol. 59, Iss. 1; p. 18 (9 pages)
UC users only

Song, Jenna J.
"Accelerating the Future and Redeeming the Past: St. Petersburg Museology and Russian Ark." In: Poetics, self, place : essays in honor of Anna Lisa Crone / edited by Catherine O'Neil, Nicole Boudreau, Sarah Krive. Bloomington, Ind. : Slavica, 2007.
Main (Gardner) Stacks PG2951 .P64 2007

Szaniawski, Jeremi.
"Interview with Aleksandr Sokurov Interview with Aleksandr Sokurov." Critical Inquiry, Vol. 33, No. 1 (Oct. 1, 2006), pp. 13-27
UC users only

Yacowar, Maurice
"Paradoxes of Power in Russian Ark." Queen's Quarterly, vol. 110, no. 2, pp. 287-93, Summer 2003
UC users only

Second Circle

Liebman, Stuart
"Second Circle." Cineaste 1994, Vol. 20 Issue 4, p54-55
UC users only

Esther (Esfir) Shub

Ellis, Jack C.
"Beginnings: The Soviets and Political Indoctrination, 1922-1929." In: A new history of documentary film New York : Continuum, c2005.
MAIN: PN1995.9.D6 E46 2005
MOFF: PN1995.9.D6 E46 2005

Malitsky, Josh
"Esfir Shub and the Film Factory-Archive: Soviet documentary from 1925-1928." Screening the past, Issue , 2004
UC users only

Petric, Vlada
"Esther Shub: cinema is my life."Quarterly Review of Film Studies Vol III nr 4 (Fall 1978); p 429-456
The life and work of Soviet filmmaker Esfir' Shub, her relationship to Ejzenshtejn and Vertov, concern for 'ontological authenticity', and major compilation films. Also a trans. of an unrealized script.

Petric, Vlada
"Esther Shub's Unrealized Project." Quarterly Review of Film Studies, Fall1978, Vol. 3 Issue 4, p449-456, 8p

Sharp, Ilana.
"The fall of the romanov dynasty (1927): a constructivist paradigm for neigrovaia fil'ma." Historical Journal of Film, Radio & Television, Jun2008, Vol. 28 Issue 2, p195-217, 23p, 15 bw

Stollery, Martin.
"Einstein, Shub and the gender of the author as producer." Film History, 2002, Vol. 14 Issue 1, p87, 13p
UC users only

Yampolsky, Mihail
"Reality at second hand."Historical Journal of Film, Radio and Television Vol XI nr 2 (June 1991); p 161-171
Contrasts the edited-archive footage approach to documentary initiated by Esfir' SHub with "Padenije Dinastij Romanovijkh" with that of Dziga Vertov.

Andrei Tarkovsky

Books
Journal Articles
Articles/Books on individual Tarkovsky films:

Books/Videos about Tarkovsky

About Andrei Tarkovsky /
[compiled by Marina Tarkovskaya; translated from the Russian]. Moscow: Progress Publishers, 1990. Memoirs and biographies.
Main Stack PN1998.3.T36.O213 1990

Andrei Tarkovski
Collection dirigee par Gilles Ciment. Paris: Rivages, c1988. (Series: Dossier Positif-Rivages, 4)
Main Stack PN1998.3.T36.A82 1988

Andrei Tarkovsky
Presente par Michel Esteve, avec des textes de Jean-Paul Sartre ... [et al.]. Paris: Lettres modernes: Minard [distributor], 1983. Etudes cinematographiques; no 135-138
Main Stack PN1998.A3.T281 1983

Andrej Tarkowskij
Mit Beitragen von Wolfgang Jacobsen ... [et al.]. Munchen: C. Hanser, 1987. Riehe Film; 39
Main Stack PN1998.A3.T2842 1987

Baecque, Antoine de.
Andrei Tarkovski / Antoine de Baecque. Paris: Ed. de l'Etoile/Cahiers du Cinema, c1989. Cahiers du cinema. Collection "Auteurs."
Main Stack PN1998.A3.T282 B34, 1989

Directed by Andrei Tarkovsky [videorecording]
New York, NY: Kino International: Kino on Video, 1997.
Media Center VIDEO/C 7170
This film shows the director Andre Tarkovskij in action as he makes his own picture 'The Sacrifice'. The program explains the motivation behind the film and contains illumination of Tarkovskij's working methods and style and how he overcame various technical problems during the film-making. Includes interviews with members of the cast and crew.

Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev
Edited by Daniel J. Goulding. Bloomington: Indiana University Press, c1994.
Main Stack PN1998.2.F555 1994
Moffitt PN1998.2.F555 1994

Gauthier, Guy.
Andrei Tarkovski / Guy Gauthier. [Paris]: Edilig, [1988] Filmo; 19
Main Stack PN1998.3.T36.G381 1988

Johnson, Vida T.
"Laughter Beyond the Mirror: Humor and Satire in the Cinema of Andrei Tarkovsky." In: Inside Soviet Film Satire: Laughter with a Lash / editor, Andrew Horton. pp: 98-104. Cambridge [England]; New York, NY, USA: Cambridge University Press, 1993. Cambridge studies in film.
Main Stack PN1995.9.C55.I54 1993

Johnson, Vida T.
The Films of Andrei Tarkovsky: A Visual Fugue / Vida T. Johnson and Graham Petrie. Bloomington: Indiana University Press, c1994.
UCB Main PN1998.3.T36 J64 1994
UCB Moffitt PN1998.3.T36 J64 1994

Johnson, Vida T.; Petrie, Graham.
"Tarkovsky." In: Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev / edited by Daniel J. Goulding. pp: 1-49 Bloomington: Indiana University Press, c1994.
Main Stack PN1998.2.F555 1994
Moffitt PN1998.2.F555 1994

Karriker, Alexandra Heidi.
"Patterns of Spirituality in Tarkovsky's Later Films." In: Before the Wall Came Down: Soviet and East European Filmmakers Working in the West Edited by Graham Petrie, Ruth Dwyer. pp: 183-201. Lanham, Md.: University Press of America, c1990.
UCB Main PN1993.5.E82 B44 1990
UCB Moffitt PN1993.5.E82 B44 1990

Le Fanu, Mark
The Cinema of Andrei Tarkovsky / by Mark le Fanu. London: BFI, 1987.
Main Stack PN1998.A3.T282 L431, 1987

O Tarkovskom. English
About Andrei Tarkovsky / [compiled by Marina Tarkovskaya; translated from the Russian]. Moscow: Progress Publishers, 1990. Memoirs and biographies.
Main Stack PN1998.3.T36.O213 1990O

Tarkovskii, Andrei Arsenevich
Time Within Time: The Diaries, 1970-1986 / Andrey Tarkovsky; translated from the Russian by Kitty Hunter-Blair. London: Faber, 1994.
Main Stack PN1998.3.T36.A3 1994;
Main Stack PN1998.3.T36.A3 1993 [other edition]
Main Stack PN1998.3.T36.A3 1991 [other edition]

Turovskaia, Maiia Iosifovna.
Tarkovsky: Cinema as Poetry / Maya Turovskaya; translated by Natasha Ward; edited and with an introduction by Ian Christie. [Rev. ed.]. London; Boston: Faber and Faber, 1989.
UCB Main PN1998.A3 T282 1989
UCB Moffitt PN1998.A3 T282 1989

Journal Articles on Tarkovsky

Adair, Gilbert
"Notes from the Underground." Sight & Sound L/1, Winter 80/81; p.63-64.

Brakhage, Stan. Dorn, Jennifer.
"Brakhage Meets Tarkovsky."Chicago Review. 47-48 (4-1): 42-46. 2001 Winter-2002 Spring.

Christie, Ian
"Ivanovo detstvo (Ivan's childhood." (Review).Monthly Film Bulletin LV/654, July 88; p.215-216.

Christie, Ian
"The long road to freedom." Sight & Sound; Jan2008, Vol. 18 Issue 1, p10-10, 1p
UC users only
"The article discusses how the success of Russian motion picture director Andrei Tarkovsky was related to his position in the Soviet Union. The author comments that Tarkovsky resisted infusing Soviet ideology and propaganda into his films and instead promoted ideas of personal and artistic freedom in motion pictures such as "Solaris," "Ivan's Childhood," and "Andrei Rublev." He suggests Tarkovsky's film "The Mirror" depicted political repression by Russian leader Josef Stalin." [Ebsco]

"Le cinema de Tarkovski." (5 article anthology) Cahiers du Cinema no. 386 (July/August 1986) p. 11-25

Crowdus, Gary
"Two by Tarkovsky." (Review).Cineaste XX/4, 94; p.55,18. illus.

Dempsey, M.
"Lost Hermony - Tarkovsky's The Mirror and The Stalker."Film Quarterly XXXV/1, Fall 81; p.12-17
Reveals changes in the recent work of A.T.

Gillespie, David.
"Russia and the West in the Films of Andrey Tarkovsky."New Zealand Slavonic Journal, 1993, 49-61.

Graffy, Julian.
"Tarkovsky: the weight of the world." (filmmaker Andrei Tarkovsky) Sight and Sound v7, n1 (Jan, 1997):18 (5 pages).
Filmmaker Andrei Tarkovsky's films deal with the mundane world of wonder, bereavement and anxiety. Most of Tarkovsky's films, such as 'Nostalgia,' 'The Sacrifice,' and 'The Steamroller and the Violin' are autobiographical, and center around the household in a Vermeeresque setting. The hero in Tarkovsky's film always embarks upon a journey towards understanding and reconciliation through love, dreams, sacrifice and above all, art. His films still provide joy and inspiration to viewers and filmmakers, and 'Andrei Rublev' remains his most popular film.

Garrett, Layla Alexander.
"Never be Neutral."Sight and Sound v7, n1 (Jan, 1997):23.
A Russian interpreter recalls her days of working with exiled Soviet filmmaker Andrei Tarkovsky. Her work as interpreter for Tarkovsky's film 'The Sacrifice' and their relationship with the English actress Susan Fleetwood, who was cast in the role of Adeleide, is reminisced upon. Some ominous events associated with 'The Sacrifice' and their impact is described. The way Tarkovsky, or any other Soviet artists working abroad, had to leave some dear ones behind as hostage is discussed. The Lucia celebrations in Sweden just prior to Tarkovsky's death are also referred to.

Gillespie, David.
"Russia and the West in the Films of Andrey Tarkovsky."New Zealand Slavonic Journal, 1993. pp: 49-61.

Graffy, Julian.
"Tarkovsky: The Weight of the World."Sight and Sound v7, n1 (Jan, 1997):18 (5 pages).

Graffy, Julian; Garrett, Layla Alexander; Reynaud, Bernice
"Tarkovsky." (Special Section). Sight and Sound VII/1, Jan 97; p.18-25.
A celebration of the work of A.T.: a discussion of the imagery in his work; Layla Alexander Garrett recalls working with Tarkovskij in exile; director Olivier Assayas talks with Bernice Reynaud about "Zerkalo".

Graffy, Julian
"Tarkovsky: the weight of the world." Sight & Sound v. ns7 (January 1997) p. 18-22
"A discussion of the films of Andrei Tarkovsky. One of Tarkovsky's early films is The Steamroller and the Violin (1960), which is overtly sentimental. Tarkovsky's later films are free of the Soviet "reality," Soviet rhetoric, and sentimentality present in this film. His films show an orientation toward autobiography and are often structured around the experience of family life. The house is a central image in Tarkovsky's films, but the houses are recurrently abandoned. The world of his films is one of matter, of simple objects, and also of the elements. The primordial quality of this world is created by Tarkovsky's treatment of light and sound. The heroes of Tarkovsky's films embark on a journey; the films negotiate a path toward reconciliation and discover maps and tools needed for the journey. These tools are love, dream, possession of an idea, and sacrifice. Among the films discussed are Ivan's Childhood, Andrei Rublev, Solaris, Mirror, Stalker, Nostalgia, and The Sacrifice." [Art Index]

Green, Peter
"Apocalypse & Sacrifice."Sight & Sound LVI/2, Spring 87; p.111-118.
Extended analysis of the film.

Green, Peter
"The Nostalgia of the Stalker." Sight & Sound LIV/1, Winter 84-85; p.50-54. illus.
Discussion of "Stalker" and "Nostalgia" and Tarkovskij's search for home.

Green, Peter
"Obituary." Sight & Sound v. 56 (Spring 1987) p. 108-9

Horton, Andrew.
"Between Spielberg and Tarkovsky: Searching for a Cinematic Middle Fround." (Post-Communist Cinema) Film Criticism v21, n2 (Winter, 1996):2 (6 pages).

James, Nick
"Icon." Sight & Sound v. ns15 no. 3 (March 2005) p. 30-3
UC users only
The writer examines the career of Russian director Andrei Tarkovsky, tracing the development of his claim to the sublime and arguing that he remains relevant to audiences today.

Karriker, Alexandra Heidi.
"In Search of Refuge: Functions of Nature in Tarkovsky's Films." West Virginia University Philological Papers vol. 37. 1991. pp: 158-66.

Kennedy, Harlan
"Tarkovsky." Film Comment v. 23 (May/June 1987) p. 44-6
"Part of a special section on the impact of glasnost on Soviet cinema. Soviet filmmaker Andrei Tarkovsky spent 30 years establishing a new kind of cinema: the cinema of extended possibilities. Possibly the last of the old European art movie directors, Tarkovsky created films that challenge the tenets of conventional form and narrative and present the world in unorthodox ways. In films like The Sacrifice and Nostalghia, he used the techniques of surrealism and expressionism to suggest that no part of life is fixed in an immovable role. The renewal of classical narrative cinema has caused many to avoid Tarkovsky's films out of fear that their symbolism makes them unintelligible. In an age where new films are little more than reruns of old ones, however, Tarkovsky's example will almost surely eventually be followed." [Art Index]

Kral, Petr.
"Pages from the Past: Tarkovsky, or the Burning House."Slavic and East European Performance. 15 (3): 51-57. 1995 Fall.

Král, Petr.
"Pages from the Past: Tarkovsky, or the Burning House, Part II."Slavic and East European Performance. 16 (1): 51-57. 1996 Winter.

Král, Petr.
"Pages from the Past: Tarkovsky, or the Burning House, Part III."Slavic and East European Performance. 16 (2): 50-56. 1996 Spring.

Král, Petr.
"Tarkovsky, or the burning house." Translated by Kevin Windle. Screening the Past, Issue Issue 12, 2001.

Leszczylowski, Michal
"A year with Andrei." Sight & Sound v. 56 (Aut 1987) p. 282-4

Matusevich, V.B.
"Tarkovsky's Apocalypse." Sight & Sound L/1, Winter 80-81; p.8-9,63-64.
On the official Soviet attitude to A.T. and his films, particularly "Stalker".

Miall, David S.
"The Self in History: Wordsworth, Tarkovsky, and Autobiography." The Wordsworth Circle, vol. 27 no. 1. 1996 Winter. pp: 9-13.

Miall, David S.
"The Self in History: Wordsworth, Tarkovsky, and Autobiography." The Wordsworth Circle, 1996 Winter, 27:1, 9-13.

Moore, Suzanne.
"Sculpting in Time." (Russian film director Andrei Tarkovsky) New Statesman & Society v2, n59 (July 21, 1989):38 (2 pages).

Petric, Vlada.
"Tarkovsky's Dream Imagery." Film Quarterly v43, n2 (Winter, 1989):28 (7 pages).
Through a combination of slow motion and tracking shots, Tarkovskij achieves a nontraditional form of dream representation, notably in "Zerkalo" and "Stalker".

Ratschewa, Maria.
"The Messianic Power of Pictures: The Films of Andrei Tarkovsky." Cineaste, vol. 13 no. 1. 1983. pp: 27-29.

Reynaud, Berenice.
"Tarkovsky: Seeing is Believing." (director Olivier Assayas)(Andrei Tarkovsky)(Interview) Sight and Sound v7, n1 (Jan, 1997):24 (2 pages).
Film director Olivier Assayas asserts that Andrei Tarkovsky's film 'The Mirror' reminds him of his childhood as it transcends the dramatic structure of cinema by focusing on the relationship between perception and memory. Assayas feels that the scene in 'The Mirror' where a bird flies over a boy's head is a reconstruction of the famous Brueghel painting 'Winter.' Assayas believes that his perception of winter and cold weather is something that he shares with Tarkovsky.

Scheib, Ronnie
"Images in exile: European filmmakers find apt metaphor for their own situation." American Film v. 10 (March 1985) p. 28-34+

Shchepotinnik, Peter.
"With Perestroika, Without Tarkovsky." New Orleans Review, vol. 17 no. 1. 1990 Spring. pp: 79-83.

Shcherbenok, A.
"Tarkovsky." Studies in Russian & Soviet Cinema v. 2 no. 3 (2008) p. 373-6 UC users only

Simonetta, Salvestroni.
"The Science-Fiction Films of Andrei Tarkovsky." Science-Fiction Studies, vol. 14 (3) no. 43. 1987 Nov. pp: 294-306.

Smith, Alexandra.
"Andrei Tarkovsky as Reader of Arsenii Tarkovsky's Poetry in the Film Mirror."Russian Studies in Literature: A Journal of Translations. 40 (3): 46-63. 2004 Summer.

Strick, Philip
"Releasing the balloon, raising the Bell." Monthly Film Bulletin LVIII/685, Feb 91; p.34-37.
Notes the sequences recently restored to prints of Tarkovsky's "Andrej Rublev".

Strick, Philip
"Katok i skripka (The steam-roller and the violin)." (Review). Monthly Film Bulletin June 81; p.115-116. cred.

Waintrub, Alexander
"Speaking icons." Word & Image v. 18 no. 2 (April/June 2002) p. 99-104
"Russian filmmaker Andrei Tarkovsky used the icon as the ultimate image of Truth in his 1966 movie, Andrei Rublyov. In this movie, which tells an epic story of Russia ravaged by the Tartar invasion and internal feuds, the eponymous Russian icon painter appears as an observer of the historical events. Through his presence, actions, and speech, however, icon painting enters the plot and infuses it with religiosity, spirituality, and mysticism. This reveals the influence of Russian philosopher Count Evgenii Nikolaevich Trubetskoi, who suggested that Russian icons actually speak in response to the endless suffering of mankind. Another major influence was Father Pavel Alexandrovich Florenskii's treatise on the icon as a means of capturing divine Truth. In his focus on Rublyov's work and the icon The Trinity in particular, Tarkovsky represented this Truth with a highly symbolic prologue followed by a series of eight episodes or stories from the painter's life and times." [Art Index]

Youngblood, Denise J.
"Post-Stalinist Cinema and the myth of World War II: Tarkovskij's Ivan's Childhood (1962) and Klimov's Come and See (1985)." (Article). Historical Journal of Film, Radio and Television ( XIV/4, Oct 94; p.413-419.
An examination of the way in which the Great Patriotic War was depicted to serve the needs of the Soviet Union.

Zankar, Anil.
"Beauty Is the Symbol of Truth." (An Interview with Andrey Tarkovsky).New Quest. 116: 99-102. 1996 Mar-Apr.

Zorkaya, Neya.
"Tarkovsky's legacy in dispute." (late Russian film director) Moscow News v45, n3552 (Nov 8, 1992):14 (1 page).
Andrei Tarkovsky's legacy has not benefited from the recent political changes in Russia. Even now the late Russian film director's literary heritage has not been published in Russian and his name is still considered a disgrace. The most recent dispute over his works involves 'The Book of Comparisons' by Olga Surkova co-authored by Tarkovsky. All the book's copies were confiscated and would have been put to the shredder had not Tarkovsky's friends bought all the copies from the printers. The unresolved dispute is a failure for the commission set up in charge of Tarkovsky's artistic legacy.

Videos About Tarkovsky

Directed by Andrei Tarkovsky.
This film shows the director Andre Tarkovskij in action as he makes his own picture 'The Sacrifice'. The program explains the motivation behind the film and contains illumination of Tarkovskij's working methods and style and how he overcame various technical problems during the film-making. Includes interviews with members of the cast and crew. Originally produced as motion picture in 1988. 107 min. Video/C 7170

Travelling Time
Filmed in 1982, when celebrated Russian Filmmaker Andrei Tarkovsky was at a crossroads in his life. Unable to work in his homeland because of censorship, and separated from his family he came to Italy. This film chronicles Tarkovsky as he faces an uncertain future, searching locations and exploring ideas for his next feature film traveling through the Italian countryside with Italian screenwriter Tonino Guerra. 2004. 63 min. DVD 3522

One Day in the Life of Andrei Arsenevich
Widely regarded as one of the greatest filmmakers of the 20th century, this is a homage to post-War Russian filmmaker Andrei Tarkovsky by his friend and colleague renowned French filmmaker Chris Marker. Marker draws parallels between Tarkovsky's life and films, offering an original insight into the usually reclusive director. Incorporating extensive film clips, journal entries, personal musings, and behind-the-scenes footage of Tarkovsky obsessively commanding his entire crew and of candid moments with his friends and family, this is a personal and loving portrait of the monumental filmmaker. 1999. 55 min. Video/C 7646

Andrei Rublev

Efird, Robert
"Andrei Rublev": Transcendental Style and the Creative Vision." Journal of Popular Film & Television 35:2 (Summer 2007) p. 86-93 p. 86-93
UC users only

Waintrub, Alexander
"Speaking icons." Word & Image v. 18 no. 2 (April/June 2002) p. 99-104
"Russian filmmaker Andrei Tarkovsky used the icon as the ultimate image of Truth in his 1966 movie, Andrei Rublyov. In this movie, which tells an epic story of Russia ravaged by the Tartar invasion and internal feuds, the eponymous Russian icon painter appears as an observer of the historical events. Through his presence, actions, and speech, however, icon painting enters the plot and infuses it with religiosity, spirituality, and mysticism. This reveals the influence of Russian philosopher Count Evgenii Nikolaevich Trubetskoi, who suggested that Russian icons actually speak in response to the endless suffering of mankind. Another major influence was Father Pavel Alexandrovich Florenskii's treatise on the icon as a means of capturing divine Truth. In his focus on Rublyov's work and the icon The Trinity in particular, Tarkovsky represented this Truth with a highly symbolic prologue followed by a series of eight episodes or stories from the painter's life and times." [Art Index]

Youngblood, Denise J.
"Andrei Rublev: The Medieval Epic as Post-Utopian History." In: The Persistence of History: Cinema, Television, and the Modern Event / edited by Vivian Sobchack. pp: 127-43. New York: Routledge, 1996. Series title: AFI film readers.
UCB Main PN1995.2 .P47 1996

The Mirror

Minnis, Stuart
"Roughened Form of Time, Space, and Character in Andrei Tarkovsky's The Mirror." Quarterly Review of Film and Video, Volume 25 Issue 3 2008 UC users only

Petric, Vlada.
"Tarkovsky's Dream Imagery." Film Quarterly v43, n2 (Winter, 1989):28 (7 pages).
Through a combination of slow motion and tracking shots, Tarkovskij achieves a nontraditional form of dream representation, notably in "Zerkalo" and "Stalker".

Reynaud, Berenice.
"Tarkovsky: Seeing is Believing." (director Olivier Assayas)(Andrei Tarkovsky)(Interview) Sight and Sound v7, n1 (Jan, 1997):24 (2 pages).
Film director Olivier Assayas asserts that Andrei Tarkovsky's film 'The Mirror' reminds him of his childhood as it transcends the dramatic structure of cinema by focusing on the relationship between perception and memory. Assayas feels that the scene in 'The Mirror' where a bird flies over a boy's head is a reconstruction of the famous Brueghel painting 'Winter.' Assayas believes that his perception of winter and cold weather is something that he shares with Tarkovsky.

Wright, Alan
"A Wrinkle in Time: The Child, Memory, and The Mirror."Wide Angle XVIII/1, Jan 96; p.47-68. illus., bibliogr.
Considers Tarkovskij's use of memory as a device in "Zerkalo".

My Name is Ivan

Crowdus, Gary
"Two by Tarkovsky." Cineaste v. 20 no. 4 (1994) p. 55+
"A review of My Name is Ivan and The Sacrifice, by Russian director Andrei Tarkovsky (1932-1986). My Name is Ivan, the most accessible of Tarkovsky's films, concerns a 12-year-old boy orphaned by the Second World War, who serves as an intelligence scout behind Nazi lines for the Red Army. The Sacrifice is about an aging literary intellectual whose birthday is being celebrated by his family and friends at his home on a desolate island in the Baltic Sea. Tarkovsky's films are characterized by a striking sense of composition; dark, brooding, desolate imagery; and a taste for elaborate mise-en-scene, consisting of long, slow, intricately choreographed tracking shots and camera movements." [Art Index]

Nostalgia

Jones, Dan
"Tarkovsky and Feminism: A Second Look at Nostalghia." Cineaste v. 31 no. 4 (Fall 2006) p. 96-8
UC users only
"The writer counters superficial interpretations of Adrei Tarkovsky's 1983 film Nostalghia. The film's two main characters are a woman and a man who have been facilely interpreted, respectively, as the unrepentant temptress corrupted by feminism into abandoning spiritual matters to pursue earthly rewards, and as the misunderstood, long-suffering noble artist unaffected by her advances because of the strength of his spiritual convictions. This characterization as an embodiment of the filmmaker's sexism is based on interpretations of his diaries, but these do not necessarily reflect his beliefs; moreover, the ideas he expressed might have changed over time. Tarkovsky is probably not a feminist, but it is most important to understand that even if he were, he would never embrace any ideological position in his work. Examined through his art rather than his journals, the female character becomes more nuanced and subtle, for the film is about the body and mind of an individual woman rather than about the bodies and minds of all women everywhere. His critique of feminism is that it is all brain and no soul, and without the soul, the individual, male or female, cannot solve their own problems."

Kennedy, Harlan
"Nostalgia." Film Comment v. 23 (May/June 1987) p. 46

Mitchell, Tony
"Andrei Tarkovsky and Nostaighia." Film Criticism, Spring84, Vol. 8 Issue 3, p2-11, 10p
UC users only

Mitchell, Tony
"Tarkovsky in Italy." (Interview). Sight & Sound LII/1, Winter 82-83; p.54-56.
A.T. discusses his work, the current state of cinema, and the film "Nostalgia" he is making in Italy.

Makolkina, Anna.
"A Nostalgic Vision of Tarkovsky's Nostalgia." In: Before the Wall came down: Soviet and East European filmmakers working in the West / edited by Graham Petrie, Ruth Dwyer.pp: 215-221. Lanham, Md.: University Press of America, c1990.
UCB Main PN1993.5.E82 B44 1990
UCB Moffitt PN1993.5.E82 B44 1990

Menashe, Louis
"Nostalghia." Cineaste v. 23 no. 3 (1998) p. 60
UC users only
"A review of Nostalghia, a film directed by Andrei Tarkovsky that has been reissued on videotape. The main character of this relatively plotless film is Andrei, a Russian working in Italy who is tormented by nostalgia. The inner consciousness and mood of the main character is reconstructed through virtuoso cinematic devices such as flash-cut reveries and disorienting tracking shots. Although the director's way with Russophilic attitudes and state-of-the-world, apocalyptic philosophizing is very debatable at the least, he succeeds brilliantly in a formal exercise that aims to translate an emotional state into cinematic language with minimalist action and dialog." [Art Index]

Mitchell, Tony
"Andrei Tarkovsky and Nostalghia." Film Criticism VIII/3, Spring 84; p.2-11. illus.
Discusses various themes, influences and autobiographical qualities in "Nostalgia".

Samardzija, Zoran
"1 +1=1: Impossible Translations in Andrey Tarkovsky's Nostalghia." Literature/Film Quarterly. 2004. Vol. 32, Iss. 4; p. 300 (5 pages)
UC users only

Strick, Philip
"Nostalghia (Nostalgia)." (Review). Monthly Film Bulletin L/599, Dec 83; p.336-337.

Tarkovskij, Andrej and Hoberman, J.
" Between Two Worlds." American Film IX/2, Nov 83; p.14,75-79. illus.
A brief introductory biography precedes Soviet director A.T.'s discussion of the evolution of "Nostalghia".

One Day in the Life of Andrei Arsenevich

Menashe, Louis
"One day in the life of Andrei Arsenevich." Cineaste v. 26 no. 4 (Fall 2001) p. 82-3
UC users only
"A review of One Day in the Life of Andrei Arsenevich, a film by Chris Marker. Made for a French television series, this profoundly moving film explores the career and work of Soviet film master Andrei Tarkovsky. It handsomely evokes Tarkovsky's often undecipherable visual poetry with generous clips, giving it lucidity and thematic coherence. Marker's documentary assembly of narration, direct cinema, and suggestive paralleling or illustrative intercutting from Tarkovsky films works artfully." [Art Index]

The Sacrifice

Christensen, Peter G.
"Kierkegaardian Motifs in Tarkovsky's The Sacrifice." Soviet and East-European Drama, Theatre and Film vol. 7 no. 2-3. 1987 Dec. pp: 31-39.

Dryansky, G. Y.
"Tarkovsky's seventh: The Sacrifice may be the great Russian director's last film." Connoisseur v. 216 (April 1986) p. 100-5

Green, Peter
"The Sacrifice." Sight & Sound v. 56 (Spring 1987) p. 111-18

Leach, Jim.
'Hideousness and Beauty': A Reading of Tarkovsky's The Sacrifice." In: Before the Wall came down: Soviet and East European filmmakers working in the West / edited by Graham Petrie, Ruth Dwyer.pp: 203-214. Lanham, Md.: University Press of America, c1990.
UCB Main PN1993.5.E82 B44 1990
UCB Moffitt PN1993.5.E82 B44 1990

Le Fanu, Mark
"The Sacrifice." Sight & Sound v. 55 (Aut 1986) p. 284-5

Moliterno, Gino.
"Zarathustra's gift in Tarkovsky's The sacrifice." Screening the Past, Issue Issue 12, 2001.

Strick, Philip
"Offret (The sacrifice." (Review). Monthly Film Bulletin LIV/636, Jan 87; p.7-8.

Taylor, John Russell
"The Sacrifice." (Review). Films & Filming /384, Sept 86; p.42-43. illus., cred.

Solaris

Csicsery-Ronay, Jr., Istvan
"On the Grotesque in Science Fiction." Science Fiction Studies; Mar2002, Vol. 29 Issue 1, p71-99, 29p
UC users only

Deltcheva, Roumiana; Vlasov, Eduard.
"Back to the House II: On the Chronotopic and Ideological Reinterpretation of Lem's Solaris in Tarkovsky's Film." (author Stanislaw Lem; screenwriter Andrei Tarkovsky)Russian Review v56, n4 (Oct, 1997):532 (18 pages).
Screenwriter Andrei Tarkovsky broadened the philosophical message contained in Stanislaw Lem's 'Solaris' in his transposition of the novel into film using a humanist approach in making changes to the conceptual core of the story. He used a ring composition model in the spatial axis of the plot development instead of the unidirectional narrative employed by Lem. Tarkovsky made the intertextual structure of the novel multidirectional, playing down various themes in the book such as the role of modern science and the Faustian culture.

Dillon, Steven
"Tarkovsky's Solaris and the cinematic abyss." In: The Solaris effect : art & artifice in contemporary American film / Steven Dillon. Austin : University of Texas Press, 2006.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1993.5.U6 D47 2006

Fujiwara, Chris
"Solaris." (movie reviews)Cineaste v. 28 no. 3 (Summer 2003) p. 51-2
UC users only
"A review of the Criterion Collection's new DVD release of Andrei Tarkovsky's film Solaris (1972). One of Tartovsky's best films, Solaris constitutes the beautiful and indispensable first panel of a cental triptych completed by Mirror and Stalker. It was previously available on DVD from the Russian Cinema Council, but the Criterion release improves upon this in every way. The inclusion of nine deleted scenes, the near-immaculate presentation of the film, and the quality of the commentaries by filmmakers and scholars make it an essential contribution to Tartovsky studies." [Art Index]

Peary, Gerald.
"Solaris." (movie reviews) Technology Review v94, n5 (July, 1991):69 (2 pages). Rosenbaum, Jonathan. "Inner Space." (Andrei Tarkovsky's science fiction film 'Solaris')Film Comment v26, n4 (July-August, 1990):57 (5 pages).

Rosenbaum, Jonathan
"Inner Space." (Solaris, Review). Film Comment XXVI/4, July-Aug 90; p.57-60. illus.
"Soviet director Andrei Tarkovsky's Solaris (1972), which is now opening in the United States in its original form, is a beautiful film about the state of man's soul as he explores the universe. Based on a science fiction novel by Polish writer Stanislaw Lem, the film centers on a psychologist who travels to a space station orbiting the planet Solaris. He discovers that the surface of the planet is a living entity that materializes human figures drawn from the guilt-ridden minds of the astronauts. Tarkovsky's merging of the psychologist's conscience and consciousness with the objective plot conveys the message that the only universe man can explore exists inside his own mind." [Art Index]

Simonetta, Salvestroni.
"The Science-Fiction Films of Andrei Tarkovsky."Science-Fiction Studies, vol. 14 (3) no. 43. 1987 Nov. pp: 294-306.

Dziga Vertov

Books
Journal Articles
Articles/Books on individual Vertov films:

Books on Vertov

Abramov, Nikolai Pavlovich.
Dziga Vertov. / Nikolai Abramov; traduction et adaptation du russe de Barthelemy Amengual. Lyon: SERDOC, 1965. Series title: Premier plan; 35.
UCB Main PN1993 .P7 no.35 NRLF #: $D 62 616

Apparatur und Rhapsodie : zu den Filmen des Dziga Vertov
Natascha Drubek-Meyer, Jurij Murasov (Hrsg.). Frankfurt am Main ; New York : P. Lang, Date c2000.
MAIN: PN1998.3.V474 A66 2000

Barsam, Richard Meran.
"Beginnings of the Soviet Propagandist Tradition: Dziga Vertov." In: Nonfiction film: a critical history / Richard M. Barsam. Rev. and expanded. Bloomington: Indiana University Press, c1992.
Main Stack PN1995.9.D6.B38 1992
Moffitt PN1995.9.D6.B38 1992

Devaux, Frederique.
L'Homme a la Camera: de Dziga Vertov / par Frederique Devaux. [Crisnee, Belgique]: Editions Yellow Now, c1990. Series title: Long metrage; 14.
UCB NRLF B 4 209 108

Dziga Vertov v vospominaniiakh sovremennikov
[sost. E. I. Vertova-Svilova, A. L. Vinogradova]. Moskva: Iskusstvo, 1976.
Main Stack PN1998.A3.Z74 1976 NRLF #: B 3 567 103

Feldman, Seth
Dziga Vertov: A Guide to References and Resources / Seth R. Feldman. Boston: G.K. Hall, c1979. Series title: A Reference publication in film.
Main Stack PN1998.A3.V419 1979 NRLF B 3 180 317

Feldman, Seth
Evolution of Style in the Early Work of Dziga Vertov, with a new appendix / Seth R. Feldman. New York: Arno Press, 1977, c1975. Series title: The Arno Press cinema program. Series title: Dissertations on film series.
UCB Main PN1998.A3 V421 1977

Film montage : the projection of modernity [Videorecording]
In this program, art historian Briony Fer analyzes the techniques and applications of film montage as they developed in the 1920s in the Soviet Union and Germany. By comparing and contrasting clips from October and Strike; Man with a Movie Camera; and Berlin - Symphony of a Great City, she illustrates how Sergei Eisenstein, Dziga Vertov, and Walter Ruttmann employed montage to address the concept of the crowd as a heroic protagonist, the collective experience of going to the cinema, and other topics. Dr. Fer also juxtaposes the ideologies of Soviet Moscow and Weimar Berlin as presented in these films.
Media Resources Center: DVD 4486

Hicks, Jeremy.
Dziga Vertov : defining documentary film London : I. B. Tauris, 2007.
MAIN: PN1998.3.V474 H53 2007

Howe, Susan.
"Sorting Facts: Or, Nineteen Ways of Looking at Marker." In: Beyond Document: Essays on Nonfiction Film. Edited by Charles Warren. pp. 295-343. Hanover, NH: University Press of New England, c1996.
Main Stack PN1995.9.D6.B48 1996
Moffitt PN1995.9.D6.B48 1996

Lines of resistance : Dziga Vertov and the twenties
Edited and with an introduction by Yuri Tsivian ; Russian texts translated by Julian Graffy ; filmographic and biographical research, Aleksandr Deriabin ; co-researchers, Oksana Sarkisova, Sarah Keller, Theresa Scandiffio. Gemona, Udine : Le Giornate del cinema muto, 2004.
MAIN: PN1998.3.V474 L56 2004

Petric, Vlada.
"Vertov's Cinematic Transposition of Reality." In: Beyond Document: Essays on Nonfiction Film / edited by Charles Warren. pp: 271-94. Hanover, NH: University Press of New England, c1996.
Main Stack PN1995.9.D6.B48 1996
Moffitt PN1995.9.D6.B48 1996

Vertov, Dziga
Dziga Vertov: Stat'i, Dnevniki, Zamysly / [redaktor-sostavitel', avtor vstupitel'noi stat'i i primechanii S. Drobashenko]. Moskva: Izd-vo Iskusstvo, 1966.
NRLF $C 97 313

Vertov, Dziga
"Provisional instructions to Kino-eye groups (1926)." In: The European cinema reader / edited by Catherine Fowler. London ; New York : Routledge, 2002.
Main Stack PN1993.5.E8.E97 2002
PFA PN1993.5.E8.E97 2002

Vertov, Dziga
Kino-eye: The Writings of Dziga Vertov / edited with an introduction by Annette Michelson; translated by Kevin O'Brien. Berkeley, CA.: University of California Press, c1984.
UCB Main PN1995.9.D6 V44 1984
UCB Moffitt PN1995.9.D6 V44 1984 *c2 copies
Table of contents: via Google Books

Vertov, Dziga
"'Kinoks-revolution', selections." In: Film makers on film making; statements on their art by thirty directors, edited by Harry M. Geduld. Bloomington, Indiana University Press [1967]
Main Stack PN1995.9.P7.G4
Moffitt PN1995.9.P7.G4

Vertov, Dziga
"Provisional instructions to Kino-eye groups (1926)." In: The European cinema reader / edited by Catherine Fowler. London; New York: Routledge, 2002.
Main Stack PN1993.5.E8.E97 2002
PFA PN1993.5.E8.E97 2002 Pacific Film Archive collection; non-circulating

Vertov: l'invention du reel: actes du colloque de Metz, 1996
sous la direction de Jean-Pierre Esquenazi. [Paris]: L'Harmattan, c1997. Champs visuels (Unnumbered)
Main Stack PN1998.3.V474.V47 1997

Zourabichvili, François
"The eye of montage: Dziga Vertov and Bergsonian materialism." In: The brain is the screen: Deleuze and the philosophy of cinema / Gregory Flaxman, editor. Minneapolis: University of Minnesota Press, c2000.
Main Stack PN1995.B714 2000

Journal Articles on Vertov

Armour, Nicole
"The Machine Art of Dziga Verto and Busby Berkeley."Images 5,

Beller, Jonathan L.
"Dziga Vertov & The Film of Money,"boundary 2 , vol. 26, no. 3 1999; 151-199.
UCB users only
"The films of Dziga Vertov portray capitalist cinema as influencing the unconscious, rendering the viewer susceptible to any ideal the filmmaker chose to insert. His 1929 'Man with a Movie Camera' suggested an alternative circulation of value, and although that did not prove viable, cinema retains the power to transform all aspects of political economy." [Expanded Academic Index]

Bukatman, Scott
"Battles with Songs: The Soviet Historical Film as Historical Document."Persistence of Vision /3-4, Summer 86; p.23-34. illus., bibliogr.
Considers the Soviet films "Oktjabr'", " Staroe i novoe" and "Simfonija donbassa" as documents from the period of their creation

Carroll, Noel
"Causation, the Ampliation of Movement and Avant-garde Film." Millennium /10-11, Fall-Winter 81-82; p.61-82. illus.
On the use of the editing device cinematic ampliation in avant-garde cinema, esp. "Celovek s kinoapparatum" and "Rude Awakening".

Chamberlin, James
"Dziga Vertov: The Idiot." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 41, pp. (no pagination), Fall 2006

Christie, Ian
"Lights, camera, discord." Sight & Sound v. ns16 no. 3 (March 2006) p. 88
"Dziga Vertov's 1931 Enthusiasm, made to celebrate one of the great projects of Stalin's first Five Year Plan--the crash development of the Ukrainian Donets Basin coal and steel complex--was a perfect subject to prove Vertov's point that silent and sound movies were subject to the same principles, except that sound offered more options. However, when viewed from today's perspective it can be seen to offer even more as a work of reflection on the process of documentation." [Art Index]

Cook, S.
"Our Eyes, Spinning Like Propellers": Wheel of Life, Curve of Velocities, and Dziga Vertov's "Theory of the Interval". October (Cambridge, Mass.) no. 121 (Summer 2007) p. 79-91
UC users only

Dawson, Jonathan
"Dziga Vertov" (Great Directors: A Critical Database)Senses of Cinema

Denkin, H.
"Linguistic Models in Early Soviet Cinema." Cinema Journal XVII/1, Fall 77; p.1-13.
The uses by Ejzenstejn and Vertov of linguistic models in their films and film writing with a shot list and analysis of "Sagaj sovet".

Durovicova, Natasa.
"A Life Caught Unawares: Dziga Vertov's Collected Writings." (includes bibliography) Quarterly Review of Film Studies v10, n4 (April, 1989):325 (9 pages).

Enzensberger, M.
"Dziga Vertov."Screen Vol XIII nr 4 (Winter 1972-73); p 90-107
Surveys his career, theories and contributions to the Russian cinema movement of the period.

Feldman, Seth
"Cinema weekly and Cinema truth; Dziga Vertov and the Leninist proportion." Sight and Sound v 43 no1 Winter 1973/1974. p. 34-7 Sight & Sound
A study of Vertov's newsreel series and assessment of his influence on later Soviet filmmakers.

Feldman, Seth
"Vertov After Manovich." Canadian Journal of Film Studies, Spring2007, Vol. 16 Issue 1, p39-50, 12p
UC users only

Fischer, Lucy
"Restoring 'Enthusiasm'." (Interview). Film Quarterly XXXI/2, Winter 77-78; p.35-6. illus.
Peter Kubelka describes the restoration of 'Simfonija Donbassa' [Entuziazm]

Fischer, Lucy
" Enthusiasm: from Kino-eye to Radio-eye." (Article). "Enthusiasm": From Kino-Eye to Radio-Eye Film Quarterly XXXI/2, Winter 77-78; p.25-34.
UC users only
Discusses Vertov's theories regarding sound and image and their relationship, using as an example his recently reconstructed film 'Simfonija Donbassa' [Entuziazm]

Jones, Elizabeth.
"Films That 'Never Transcend the Realm of Art'." Post Script: Essays in Film and the Humanities, vol. 3 no. 2. 1984 Winter. pp: 20-33.

Kadlec, David
"Early Soviet Cinema and American Poetry." Modernism - Modernity v. 11 no. 2 (April 2004) p. 299-331
"The writings of literary-scholar-turned-film-critic Viktor Shklovsky provide a particularly rich theoretical ground for a study of the historical relationship between early Soviet cinema and American poetry. Shklovsky not only anticipated the historical transposition of materials from the documentary to the long poem, but he also recognized that it mattered how these materials were assembled. He saw that montage would be the method of an epoch, and he recognized that this epoch was being molded by the fast-cut film sequences emerging from studios in and around Moscow, Leningrad, and the Ukraine. He may not have seen the extent to which the defining characteristics of Soviet film were dictated by material circumstances, and may not have been especially attuned to the material origins of Soviet montage, but he still had an uncanny understanding of the materials and methods that offered a common ground for Russian filmmakers and American poets." [Art Index]

Kirby, L.
"From Marinetti to Vertov: Woman on the Track of Avant-garde Representation.Quarterly Review of Film Studies X/4, Apr 89; p.309-323.
The ambiguous depiction of woman as (or opposed to) machine in futurist theory and avant-garde films such as "Celovek s kinoapparatom".

Kolchevska, Natasha.
"The Faktoviki at the Movies: Novyj Lef's Critique of Ejzenstejn and Vertov."Russian Language Journal, vol. 41 no. 138-139. 1987. pp: 139-151.

Lawton, Anna
" Rhythmic Montage in the Films of Dziga Vertov: A Poetic Use of the Language of Cinema." Pacific Coast Philology, Vol. 13. (Oct., 1978), pp. 44-50.
UC users only

MacKay, John.
"Film Energy: Process and Metanarrative in Dziga Vertov's The Eleventh Year (1928)." October, Summer2007 Issue 121, p41-78, 38p
UC users only

Murray-Brown, Jeremy.
"False Cinema: Dziga Vertov and Early Soviet Film."The New Criterion, vol. 8 no. 3. 1989 Nov. pp: 21-33.

Nesbet, A.
"Understanding Man with a Movie Camera." Film Quarterly v. 59 no. 1 (Fall 2005) p. 3
UC users only
The writer discusses University of Chicago film historian Yuri Tsivian's project of bringing hundreds of films and some rare manuscripts by Dziga Vertov to the 23rd Pordenone Silent Film Festival in Sacile, Italy, in October 2004.

Norden, Martin F.
"The Avant-garde cinema of the 1920s: connections to Futurism, Precisionism, and Suprematism." Leonardo v. 17 no. 2 (1984) p. 108-12

Petric, Vlada
"The Difficult Years Of Dziga Vertov - Excerpts From is Diaries."Quarterly Review Of Film snd Video V7; N1; 1982

Petric, Vlada
"Dziga Vertov as Theorist.Cinema Journal XVIII/1, Fall 78; p.29-44.
Analysis of D.V.'s early writings in relation to his film "Celovek s kinoapparatom".
UC users only

Petric, V.
"Vertov, Lenin And Perestroika - The Cinematic Transposition Of Reality."Historical Journal Of Film Radio And Television, 1995 Mar, V15 N1:3-17.
Analysis of Vertov's films and ideas, concerned particularly with "Tri pesni o Lenine", discussing how he represented reality in an attempt to change the people's consciousness.
UC users only
"Dziga Vertov's politically colored motion pictures depict change at theaesthetic and the ideological levels. The aesthetic level is affected by acontinuous metamorphosis in art-related ideas while the ideological level depends on socio-economic conditions. Vertov uses cinematic devices to impart political themes in his works filmed from the years 1926-1934, such as 'Forward March, Soviet,' 'One Sixth of the World,' 'The Eleventh Year,'and 'Three Songs about Lenin.'" [Expanded Academic Index]

Rosenbaum, Jonathan
"Paris Journal." (Film review).Film Comment VIII/3, Sept-Oct 72; p.2,76.

Sarkisova, Oksana
"Present Perfect or Present Progressive? Temporality in Early Soviet Avant-Garde Visual Arts."Studies in Slavic Cultures January 2000 vol. 1 pp: 103-132

Sarkisova, Oksana
"Across One Sixth of the World: Dziga Vertov, Travel Cinema, and Soviet Patriotism." October Summer 2007, No. 121: 19–40.
UC users only

Schaub, Joseph Christopher
"Presenting the Cyborg's Futurist Past: An Analysis of Dziga Vertov's Kino-Eye> Postmodern Culture Volume 8, Number 2, January 1998
UC users only

Sheehan, Thomas W.
"Wittgenstein and Vertov: Aspectuality and Anarchy."Discourse: Journal for Theoretical Studies in Media and Culture. 24 (3): 95-113. 2002 Fall.
UC users only

Singer, Ben.
"Connoisseurs of Chaos: Whitman, Vertov and the 'Poetic Survey'." Literature/ Film Quarterly, vol. 15 no. 4. 1987. pp: 247-258.

Stenberg, Jarrod.
"Occupation of Persuasion: Propaganda and the Films of Dziga Vertov and John Grierson."

Petric, Vlada
"The difficult years of Dziga Vertov: excerpts from his diaries."Quarterly Review of Film Studies Vol VII nr 1 (Winter 1982); p 7-22
Introduction to and trans. of excerpts from D.V.'s diaries, chosen to illustrate his life, creative personality and theoretical position.

Tsivian, Yuri
"Turning Objects, Toppled Pictures: Give and Take between Vertov's Films and Constructivist Art." October Summer 2007, No. 121: 92–110
UC users only

Turvey, Malcolm, ed, et. al.,
"New Vertov Studies." October (Cambridge, Mass.) no. 121 (Summer 2007) p. 3-110
UC users only

Turvey, Malcolm
"Vertov: Between the Organism and the Machine." October, Summer2007 Issue 121, p5-18, 14p
UC users only

Vertov, Dziga
"Film directors, a revolution."Screen Vol XII nr 4 (Winter 1971-72); p 52-58
Manifesto propounding the methods and techniques of Kino-Pravda. Translation of an article from the periodical 'Lef'.

Waugh, Thomas.
"The Films They Never Showed." Wide Angle, vol. 17 no. 1-4. 1995. pp: 217-26.

Williams, A.
"The Cameraeye and the Film: Notes on Vertov's 'Formalism'."Wide Angle III/3, 80; p.12-17. illus.
An examination of 66 shots from the beginning of the film.

Zimmermann P. R.
"Reconstructing Vertov - Soviet Film Theory And American Radical Documentary."Journal Of Film And Video, 1992 Spring-Summer, V44 N1-2:80-90.
"The experimental documentaries of Soviet filmmaker Dziga Vertov encouraged American documentary filmmakers to become more radical in the style and substance of their films. Vertov's more subjective approach influenced his followers to turn away from the usual objective treatment of subjects. Vertov believed the camera became a tool for closely analyzing the world rather than a passive recorder of events. Ultimately, his works strove to involve the audience by making them connect scattered film images into a conceptual whole." [Expanded Academic]

Zimmermann P. R.
"Strange Bedfellows - The Legacy Of Vertov And Flaherty (Introduction To Soviet And American Documentary Film Seminar)."Journal Of Film And Video, 1992 Spring-Summer, V44 N1-2:4-8.
"The experimental documentaries of Soviet filmmaker Dziga Vertov encouraged American documentary filmmakers to become more radical in the style and substance of their films. Vertov's more subjective approach influenced his followers to turn away from the usual objective treatment of subjects. Vertov believed the camera became a tool for closely analyzing the world rather than a passive recorder of events. Ultimately, his works strove to involve the audience by making them connect scattered film images into a conceptual whole." [Expanded Academic Index]

Kino Eye

Schaub, Joseph Christopher.
"Presenting the Cyborg's Futurist Past: An Analysis of Dziga Vertov's Kino-Eye." Postmodern Culture: An Electronic Journal of Interdisciplinary Criticism vol. 8 no. 2. 1998 Jan. pp: 27
UC Berkeley users only

Man With A Movie Camera

Beller, Jonathan L.
"The Circulating Eye." Communication Research, vol. 20 no. 2. 1993 Apr. pp: 298-313.

Beller, Jonathan L.
"Man With a Movie Camera." (movie reviews)Communication Research April 1993 v20 n2 p298(16

Beller, Jonathan L.
"Dziga Vertov and the Film of Money." Boundary 2: An International Journal of Literature and Culture, 1999 Fall, 26:3, 151-99.
UC users only
"The films of Dziga Vertov portray capitalist cinema as influencing the unconscious, rendering the viewer susceptible to any ideal the filmmaker chose to insert. His 1929 'Man with a Movie Camera' suggested an alternative circulation of value, and although that did not prove viable, cinema retains the power to transform all aspects of political economy." [Magazine Index]

Carroll, Noel
"Causation, the Ampliation of Movement and Avant-garde Film." Millennium /10-11, Fall-Winter 81-82; p.61-82. illus.
On the use of the editing device cinematic ampliation in avant-garde cinema,esp. "Celovek s kinoapparatum" and "Rude Awakening".

Crofts, Stephen; Rose, Olivia
"An Essay Towards Man with a Movie Camera." Screen 1977 18: 9-60
UC users only

Durgnat, Raymond.
"Man with a Movie Camera."American Film v. 10 (Oct. '84) p. 78-9+.

Edwards, Justin.
"The Man with a Camera Eye: Cinematic Form and Hollywood Malediction in John Dos Passos's The Big Money." Literature Film Quarterly, 1999, 27:4, 245-54.

Ellis, Jack C.
"Beginnings: The Soviets and Political Indoctrination, 1922-1929." In: A new history of documentary film New York : Continuum, c2005.
MAIN: PN1995.9.D6 E46 2005
MOFF: PN1995.9.D6 E46 2005

Feldman, Seth.
Evolution of Style in the Early Work of Dziga Vertov New York: Arno Press, 1977, c1975.
Main Stack PN1998.A3.V421 1977

Feldman, Seth.
"Peace Between Man and Machine": Dziga Vertov's The Man with a Movie Camera." In: Documenting the documentary: close readings of documentary film and video / edited by Barry Keith Grant and Jeannette Sloniowski. pp: 40-54.Detroit: Wayne State University Press, c1998. Contemporary film and television series.
Main Stack PN1995.9.D6.D58 1998
Moffitt PN1995.9.D6.D58 1998

Jones, Elizabeth.
"Films That 'Never Transcend the Realm of Art'." Post Script: Essays in Film and the Humanities, vol. 3 no. 2. 1984 Winter. pp: 20-33.

Latteier, Pearl.
"Gender and the Modern Body: Men, Women and Machines in Vertov's Man with a Movie Camera."Post Script: Essays in Film and the Humanities. 22 (1): 23-34. 2002 Fall.
UC users only

LoBrutto, V.
"Self-referential cinema: Man with a movie camera." In: Becoming film literate : the art and craft of motion pictures / Vincent LoBrutto ; foreword by Jan Harlan. Westport, Conn. : Praeger, 2005.

Main Stack PN1994.L595 2005

Moffitt PN1994.L595 2005

PFA PN1994.L595 2005

Malevich, Kazimir. Young, Cathy (translator).
"Painterly Laws in the Problems of Cinema." In: Malevich and film / Margarita Tupitsyn; with essays by Kazimir Malevich and Victor Tupitsyn. pp: 147-59. New Haven: London: Yale University Press in association with the Funacao Centro Cultural de Belem, c2002.
Main Stack N6999.M34.T86 2002

Miljacki, Ana
"Three Episodes in the Transformation of Eastern European Urbanism." Centropa (New York, N.Y.) v. 3 no. 2 (May 2003) p. 132-40
"The writer discusses the transformation of Eastern Europe urbanism in three filmic instances. Dziga Vertov's Man With A Movie Camera (1929), was a formally radical film that captured, or perhaps more precisely, constructed an image of the Soviet City. Andrzej Wajda's Man of Marble (1976), explains the mechanism behind the propaganda and production of a new settlement, Nova Huta. Finally, Krzysztof Kieślowski's Decalogue is organized around the housing block, which becomes a stylized representation of the everday life of its inhabitants." [Art Index]

Murray-Brown, Jeremy.
"False Cinema: Dziga Vertov and Early Soviet Film." The New Criterion, vol. 8 no. 3. 1989 Nov. pp: 21-33.

Nesbet, Anne
"Understanding Man with a Movie Camera." Film Quarterly v. 59 no. 1 (Fall 2005) p. 3
The writer discusses University of Chicago film historian Yuri Tsivian's project of bringing hundreds of films and some rare manuscripts by Dziga Vertov to the 23rd Pordenone Silent Film Festival in Sacile, Italy, in October 2004.

Norden, Martin F.
"The Avant-garde cinema of the 1920s: connections to Futurism, Precisionism, and Suprematism." Leonardo v. 17 no. 2 (1984) p. 108-12

Petric, Vlada.
"Cinematic abstraction as a means of conveying ideological messages in The Man with a Movie Camera." In: The Red screen : politics, society, art in Soviet cinema.
Edited by Anna Lawton. London ; New York : Routledge, 1992.
Full text available online (UCB users only)
MAIN: PN1993.5.R9 R4 1992

Petric, Vlada.
Constructivism in Film: The Man with the Movie Camera: A Cinematic Analysis / Vlada Petric. Cambridge; New York: Cambridge University Press, 1987. Series title: Cambridge studies in film.
UCB Main PN1997.C452225 P481 1986

Petric, Vlada.
"Vertov's Cinematic Transposition of Reality." In: Beyond Document: Essays on Nonfiction Film / edited by Charles Warren. pp: 271-94. Hanover, NH: University Press of New England, c1996.
Main Stack PN1995.9.D6.B48 1996
Moffitt PN1995.9.D6.B48 1996

Roberts, Graham
The man with the movie camera London; New York: I.B. Tauris, 2000.
MAIN: PN1997.C452225 R63 2000

Strathausen, Carsten.
"Uncanny Spaces: The City in Ruttmann and Vertov." In: Screening the city / edited by Mark Shiel and Tony Fitzmaurice. pp: 15-40. London; New York: Verso, 2003.
Environ Dsgn PN1995.9.C513.S37 2003
Main Stack PN1995.9.C513.S37 2003

Tsivian, Yuri
"Dziga Vertov's Frozen Music." Griffithiana /54, Oct 95; p.92-121.
Cue sheets and a music scenario for "Celovek s kinoapparatom" from Dziga Vertov's archive at Russia's State Archive of Literature. Reproduces Vertov's handwritten notes.

Turvey, Malcolm.
"Can the Camera See? Mimesis in Man with a Movie Camera." October vol. 89. 1999 Summer. pp: 25-50.
UC users only
"A major rhetorical tendency of Dziga Vertov's film theory is that of ascribing to the camera primarily perceptual predicates that are normally reserved for human beings and other living creatures. Vertov replicates this tendency in his 1929 film Man with a Movie Camera. A remarkable, celebrated sequence somewhere near the end of the movie shows the camera, which holds a starring role throughout the film, walking about on its tripod like a human being. Vertov's fetishization and enchantment of the camera through the ascription to it of human predicates and powers is ultimately motivated by a desire for Adamic perfection. His camera-eye balances the materialist and humanistic conceptions of human beings because it is based on the analogy between human being and machine but is also suffused with a conception of human freedom." [Art Index]

Vertov, Dziga
"The Man with the Movie Camera (A visual symphony)" (19 March 1928). (Treatment). Film Comment VIII/1, Spring 72; p.46-47.

Williams, A.
"The cameraeye and the film: notes on Vertov's 'Formalism'."Wide Angle Vol III nr 3 (1980); p 12-17 Abstract: An examination of 66 shots from the beginning of the film.

Three Songs About Lenin

MacKay, J.
"Allegory and accommodation: Vertov's "Three Songs of Lenin" (1934) as a Stalinist Film." Film History v. 18 no. 4 (2006) p. 376-91
UC users only

Petric, Vlada.
"Vertov, Lenin, and Perestroika: the cinematic transposition of reality." Historical Journal of Film, Radio and Television March 1995 v15 n1 p3(15) (8945 words)
UC users only
"Dziga Vertov's politically colored motion pictures depict change at the aesthetic and the ideological levels. The aesthetic level is affected by a continuous metamorphosis in art-related ideas while the ideological level depends on socio-economic conditions. Vertov uses cinematic devices to impart political themes in his works filmed from the years 1926-1934, such as 'Forward March, Soviet,' 'One Sixth of the World,' 'The Eleventh Year,' and 'Three Songs about Lenin.'" [Expanded Academic Index]

Prunes, Mariano.
"Dziga Vertov's Three Songs about Lenin (1934): A Visual Tour through the History of the Soviet Avant-Garde in the Interwar Years."Criticism: A Quarterly for Literature and the Arts. 45 (2): 251-78. 2003 Spring.
UC users only

Czechoslovakia

Buchar, Robert
Czech new wave filmmakers in interviews Jefferson, N.C. : McFarland, c2004.
UCB MAIN: PN1993.5.C89 B83 2004
Table of contents http://www.loc.gov/catdir/toc/ecip048/2003019550.html

Hames, Peter.
The Czechoslovak new wave London ; New York : Wallflower, 2005.
PFA PN1993.5.C9 H34 2005
Main PN1993.5.C9 H21 2005
UCB MAIN: PN1993.5.C9 H21 1985 [earlier edition]

Iordanova, Dina.
Cinema of the other Europe: the industry and artistry of East Central European film London; New York: Wallflower, 2003.
PFA: PN1993.5.E82 I59 2003
East Central European film studies -- The industry -- Historical film I: narratives of identity -- Historical film II: discourse on morality -- State socialist modernity: the urban and the rural -- Women's cinema, women's concerns -- East Central European cinema since 1989.

Liehm, Antonin J.
Closely watched films; the Czechoslovak experience White Plains, N.Y., International Arts and Sciences Press [1974]
UCB MAIN: PN1993.5.C9bL48

Liehm, Antonin J.
"Czech and Slovak cinema. (Cinemas in Transition: A Special Section on the Cinemas of Eastern & Central Europe)."Cineaste 19.n4 (Fall 1992): 62(1).
UC users only

Modern Czechoslovak film, 1945-1965. [Microform]
[Texts by Jaroslav Bocek and others. Translated by Alice Denesova. Prague, Published in co-operation with the Czechoslovak Film Institue by] Artia
UCB MAIN:

Skvorecky, Josef.
All the bright young men and women; a personal history of the Czech cinema [Toronto] Peter P. Martin Associates [1971]
UCB MAIN: MICROFILM.14856.PN;

Zalman, Jan. Films and film-makers in Czechoslovakia Prague: Orbis, 1968.
UCB MAIN:PN1993.5.C95 Z313 1968; Storage Info: B 2 840 360

Hungary

Burns, Bryan.
World cinema: Hungary Wiltshire, England: Flick Books; Madison, N.J.: Fairleigh Dickinson University Press, 1996.
UCB MAIN: PN1993.5.H8 B87 1996
UCB Moffitt PN1993.5.H8 B87 1996

Iordanova, Dina.
Cinema of the other Europe: the industry and artistry of East Central European film London; New York: Wallflower, 2003.
PFA: PN1993.5.E82 I59 2003
East Central European film studies -- The industry -- Historical film I: narratives of identity -- Historical film II: discourse on morality -- State socialist modernity: the urban and the rural -- Women's cinema, women's concerns -- East Central European cinema since 1989.

Nemeskurty, Istvan.
A short history of the Hungarian cinema [Budapest]: Corvina Kiado, c1980
UCB MAIN: PN1993.5.H8 .M394; Storage Info: B 3 567 611

Nemeskurty, Istvan.
Word and image; history of the Hungarian cinema. [Budapest]: Corvina Press, c1974.
UCB MAIN PN1993.5.H8 N3913 1974;

Nemeskurty, Istvan.
Word and image; history of the Hungarian cinema. Uniform Title: Magyar film tortenete.English Budapest] Corvina Press [1968]
UCB MAIN PN1993.5.H8 N4512; Storage Info: B 3 567 594

Petrie, Graham.
History must answer to man: the contemporary Hungarian cinema [Budapest]: Corvina Kiado, c1978
UCB MAIN: PN1993.5.H8 .P4
Moffitt: PN1993.5.H8 .P4

Poland

Coates, Paul
The red and the white : the cinema of people's Poland London ; New York : Wallflower, 2005.
MAIN: PN1993.5.P55 C62 2005
PFA : PN1993.5.P55 C59 2005

Contemporary Polish cinematography.
[Text written by Wadyslaw Banaszkiewicz and others] Warsaw, Polonia Pub. House, 1962.
UCB MAIN: PN1993.5.P6 C6;

Ford, Charles
Polish film : a twentieth century history Published: Jefferson, N.C.: McFarland & Co., c2005.
MAIN: PN1993.5.P5 F67 2005

Fuksiewicz, Jacek.
Film and television in Poland Warsaw: Interpress Publishers, 1976.
UCB MAIN: PN1993.5.P55 .F7813; Storage Info: B 3 567 123

Grzelecki, Stanislaw.
Polish films today Warsaw: Polonia Publishing House, 1966.
UCB MAIN: PN1993.5.P55 G7 1966; Storage Info: B 2 826 261

Haltof, Marek.
Polish national cinema New York: Berghahn Books, 2002.
UCB MAIN: PN1993.5.P55 H35 2002

Haltof, Marek.
"A Fistful of Dollars: Polish Cinema after the 1989 Freedom Shock." Film Quarterly, Vol. 48, No. 3. (Spring, 1995), pp. 15-25.
UC users only

Iordanova, Dina.
Cinema of the other Europe: the industry and artistry of East Central European film London; New York: Wallflower, 2003.
PFA: PN1993.5.E82 I59 2003
East Central European film studies -- The industry -- Historical film I: narratives of identity -- Historical film II: discourse on morality -- State socialist modernity: the urban and the rural -- Women's cinema, women's concerns -- East Central European cinema since 1989.

Kornatowska, Maria.
"Polish cinema." (Cinemas in Transition: A Special Section on the Cinemas of Eastern & Central Europe) Cineaste Fall 1992 v19 n4 p47(4) (2100 words)
"Polish cinema is threatened by the loss of its subsidies from the government and its audience patronizing American films through video, cable and television. An agency for film distribution has been tasked to introduce both private- and state-funded films to the meager market which had been mildly sucessful. Despite the international acclaim garnered by films like 'The Double Life of Veronique' by Krzysztof Kieślowski and 'Europa, Europa' by Agnieszka Holland, Polish cinema is suffering in mediocrity." [Expanded Academic Index]

Miczka, Tadeusz.
"Cinema in the Labyrinth of Freedom: Polish Feature Film after 1989." Kinema, Spring2008, Issue 29, p79-100, 22p

100 Years of Polish Cinema[Videorecording]
Pawel Lozinski's film focuses not on the filmmakers, but on those for whom movies are made -- the audience. Through interviews with children and the elderly, Lozinski attempts to evoke the magic and power of Polish cinema through collective memory. 61 min.
Media Center Video/C MM445

Wajda, Andrzej; Maryniak, Irena.
"Transformations in waiting." (Polish movies)(Transcript) Index on Censorship, Nov-Dec 1995 v24 n6 p108(2)
Polish film makers are making movies based on the interest of the general public and are not concentrating on the quality. This results in the production of petty bourgeois movies. There is a lack of shared vision of evaluation and the orientation of film-makers seems to be diverted from the original path. A large number of movies are made without any specified goals or objectives." [Expanded Academic Index]

Kuszewski, Stanislaw.
Contemporary Polish film Warsaw: Interpress, 1978.
UCB MAIN: PN1993.5.P55 K813

Andrzej Wajda

Books/Articles in English

Andrzej Wajda: Polish cinema; a BFI Education Department dossier,
Edited by Colin McArthur. [London, 1970]
UCB MAIN: Main Stack PN1998.A3.W239 RLF #: C 2 842 065

"Andrzej Wajda: The Interrelatedness Of Polish and Universal Culture." Dialogue & Universalism, 12345792, 2000, Vol. 10, Issue 3/4
UC users only

Barbur, Eli.
"Interview with Andrzej Wajda."Tel Aviv Review. 2: 104-119. 1989-1990 Fall-Winter

The cinema of Andrzej Wajda: the art of irony and defiance
Edited by John Orr & Elzbieta Ostrowska. London; New York: Wallflower, 2003.
MAIN: PN1998.3.W34 C56 2003

"Cinema's Man of Iron." (Polish filmmaker Andrzej Wajda) Newsweek International March 20, 2000 p60 (1276 words)

Coates, Paul
"Revolutionary spirits: the wedding of Wajda and Wyspianki." Literature/Film Quarterly Vol XX nr 2 (Apr 1992); p 127-132
Traces the influence of Polish playwright Stanislaw Wyspianski on the films of Andrzej Wajda

Darnton, Nina
"Poland's man of films." (Andrzej Wajda) . The New York Times Oct 11, 1981 v131 s6 p113 col 1 (100 col in)

Dowell, Pat.
"The Man Who Put Poland on the Postwar Map of Cinema: An Interview with Andrzej Wajda."Cineaste: America's Leading Magazine on the Art and Politics of the Cinema. 19 (4): 51-53. 1993
UC users only
"Polish director Andrzej Wajda has been responsible for the recognition given to Polish cinema with his films Ashes and Diamonds in 1958, Man of Marble in 1977 and Man of Iron in 1981. Wadja was a prominent figure in the democratic struggle with the repressive communist regime. His new film 'The Horsehair Ring' will be shown in the US late in 1992. Polish cinema at present is suffering from American competition. Wadja believes that influx of films should be controlled to ensure the survival of the Polish film industry. He also beleives that international co-productions would be beneficial to the industry." [Expanded Academic Index]

Falkowska, Janina
The political films of Andrzej Wajda: dialogism in Man of marble, Man of iron, and Danton / Janina Falkowska. Providence: Berghahn Books, 1996.
Main Stack PN1998.3.W34.F36 1995
Contents via Google books

Falkowska, Janina
"'The Political' in the Films of Andrzej Wajda and Krzysztof Kieślowski." Cinema Journal. 34 (2): 37-50. 1995 Winter.
UC users only

Grenier, Richard.
"Poland on Film." Commentary 1982 73(2): 54-61.
Discusses the career of Polish filmmaker Andrzej Wajda from Kanal (1957) to Man of Iron (1981) and its particular ability to present the situation in Poland to Western audiences.

Imposti, Gabriella Elina
"'God's Playground': Poland and the Second World War in Wajda's Cinema." In: Memories and representations of war : the case of World War I and World War II / edited by Elena Lamberti and Vita Fortunati. Amsterdam ; New York : Rodopi, 2009.
Main (Gardner) Stacks D522.42 .M46 2009

Insdorf, Annette.
"Andrzej Wajda, director with double vision." The New York Times July 2, 1989 v138 s2 pH5(N) pH5(L) col 1 (33 col in)

Kleberg, Lars.
"Romanticism and Anti-Romanticism: Tradition in the Film and Theater of Andrzej Wajda." In: Fiction and drama in Eastern and Southeastern Europe: evolution and experiment in the postwar period pp: 277-87. Columbus, Ohio: Slavica Publishers, 1980 UCLA Slavic studies; v.1
UCB MAIN: Main Stack PN849.E9.F5
Moffitt PN849.E9.F5

Mazierska, Ewa.
"The exclusive pleasures of being a second generation inteligent: representation of social class in the films of Andrzej Wajda." Canadian Slavonic Papers Sept-Dec 2002 v44 i3-4 p233(17)
UC users only
(Author Abstract) "This article discusses Wajda's discourse on class. First it identifies the most important problems the concept raises when applied to Wajda's characters and narratives. Next, it discusses the director's representation and evaluation of three types of characters: the intelligentsia, the working class, and individuals who fall in between these two groups. In addition, the article analyzes how the representation of class is influenced by Wajda's attitude toward gender and ethnicity. It concludes that his attitude to the class system in Poland is conservative and identifies some of the factors that influenced him. This article is an exploration of these issues, rather than an analysis of his films. Priority is given to films set during and after the Second World War." [Expanded Academic Index]

Mazierska, Ewa.
"Non-Jewish Jews, Good Poles and Historical Truth in the Films of Andrzej Wajda." Historical Journal of Film, Radio and Television June 2000 v20 i2 p213
UC users only
"Looks at the historical accuracy of Andrzej Wajda's portrayal of Jews and Poles and their interrelationships, particularly during the Holocaust, in films such as Samson (1961) and Holy Week (1995), noting the influence of the director's own views on his films. Wajda, who made more feature films about Jews than any of his contemporaries, sought to show the Holocaust from the Polish perspective. Several types of characters who support Wajda's perspective are portrayed repeatedly throughout his work. He presented a number of "non-Jewish Jews" who assimilated into Polish culture. Wajda commonly portrayed anti-Semitic Poles as lower-class, uneducated people while "good Poles" were generally members of the intelligentsia. His films contend that Poles suffered as much if not more than Jews, because in addition to physical hardship, they endured the guilt of being unable to save the Jews - while he often portrayed Jews as passive victims who allowed the Nazis to determine their identity as victims. Wajda's lack of historical accuracy has been generally overlooked by film historians, while his "myth of a noble Pole" brought him worldwide critical praise and an honorary Academy Award in 2000." [Historical Abstracts]

Michaek, Boleslaw.
The modern cinema of Poland Bloomington: Indiana University Press, c1988.
UCB MAIN: PN1993.5.P55 M561 1988

Michaek, Boleslaw.
"The Wajda question." (filmmaker and theater director Andrzej Wajda)Salmagundi, Fall 2000 i128-129 p137(43)
UC users only
"Polish theater and film director Andrzej Wajda creates motion pictures where the history of Poland is portrayed as a struggle between overwhelming despair and faint hope. His films contain humanist messages that bear witness to treason, heroism, sacrifice, defeat, and misfortune." [Expanded Academic Index]

Mazierska, Ewa.
"The Exclusive Pleasures of Being a Second Generation Inteligent: Representation of Social Class in the Films of Andrzej Wajda."Canadian Slavonic Papers-Revue Canadienne des Slavistes. 44(3-4):233-49. 2002 Sept-Dec
"Author's Abstract: COPYRIGHT 2002 University of Alberta (Canada) This article discusses Wajda's discourse on class. First it identifies the most important problems the concept raises when applied to Wajda's characters and narratives. Next, it discusses the director's representation and evaluation of three types of characters: the intelligentsia, the working class, and individuals who fall in between these two groups. In addition, the article analyzes how the representation of class is influenced by Wajda's attitude toward gender and ethnicity. It concludes that his attitude to the class system in Poland is conservative and identifies some of the factors that influenced him. This article is an exploration of these issues, rather than an analysis of his films. Priority is given to films set during and after the Second World War." [Expanded Academic Index]

Mazierska, Ewa.
"Non-Jewish Jews, Good Poles and Historical Truth in the Films of Andrzej Wajda." Historical Journal of Film, Radio & Television, Jun2000, Vol. 20 Issue 2, p213-226, 14p
Examines the films made by Polish film director Andrzej Wajda about the Jews. Scenes from the film `Samson'; Reason for making a screen adaptation of `Holy Week,' by Jerzy Andrzejewski; Contextual analysis of Wajda's films.
UC users only

Michaek, Boleslaw.
The cinema of Andrzej Wajda. London, Tantivy Press; South Brunswick [N.J.] A. S. Barnes [c1973]
UCB MAIN: PN1998.A3 W244
UCB Moffitt PN1998.A3 W244

Michaek, Boleslaw.
"Andrzej Wajda's Vision of One Country's Past and Present." In: Politics, art and commitment in the East European cinema / edited by David W. Paul. pp: 169-188. London; Basingstoke: Macmillan, 1983.
UCB MAIN: PN1993.5.E82.P6 1983
Moffitt PN1993.5.E82.P6 1983 (another edition)

Prendowska, Krystyna.
"Artist as Politician: An Interview with Polish Director Andrzej Wajda."Literature/Film Quarterly. 22 (4): 246-52. 1994
"Andrzej Wajda discusses his political interests and the course of recent events in Poland, and the role politics play in his films. A new member of the Polish Parliament, he is excited about the possibilities of effecting change through politics rather than through artistic criticism. The interview was conducted in the summer of 1989, so events since then have changed the political and cultural situation from what he describes." [Expanded Academic Index]

Przybylska, Krystyna Korvin.
"An Interview with Andrzej Wajda."Literature-Film Quarterly. 5:2-16. 1977.
UC users only
A.W. gives his views on such subjects as working in the theatre, the role of the director, art, Roman Polanski, and the USA.

Rubenstein, Lenny.
"A Love in Germany: An Interview with Andrzej Wajda."Cineaste: America's Leading Magazine on the Art and Politics of the Cinema. 14 (2): 19-20. 1985

Sobanski, Oskar.
Polish feature films: a reference guide 1945-1985 West Cornwall, CT: Locust Hill Press, 1987.
UCB MAIN: PN1998 .S6721 1987

Todorov, Tzvetan
"The Wajda problem." (antisemitism in the films of Andrzei Wajda) Salmagundi, Fall 1991 n92 p29(7)
"Andrzei Wajda's biographical film 'Korczak' has sparked a controversy over whether it is antisemitic and, subsequently, over the role of critics in determining the content of a film. The primary charge against this story of a Polish-Jewish doctor who lived during the Holocaust is that it downplays Polish complicity in the extermination of the Jews. These critics, however, disregard the mainly positive portrayal of Polish Jews and seek to censor the film based on their narrow objections." [Expanded Academic Index]

Wajda, Andrzej
Double vision: my life in film New York: H. Holt, c1989.
UCB MAIN: PN1998.3.W34 A3 1989

Wajda, Andrzej
Wajda films Warszawa: Wydawnictwa Artystyczne i Filmowe, 1996.
UCB MAIN: PN1998.3.W34 A313 1996

Books in Other Languages

Andrzej Wajda
Klaus Eder...[et al] Textes traduits de l'allemand par Anne-Liese Plank. Nantes: L'Atalante, 1982.
Main Stack PN1998.A3.W23 1982 NRLF #: B 3 567 102

Mruklik, Barbara.
Andrzej Wajda / Barbara Mruklik. Wyd. 1-e. Warszawa: Wydawnictwo Artystyczne i Filmowe, 1969. Biblioteka "X muza"
Main Stack PN1998.A3.W2448 1969 NRLF #: B 2 841 271

Trinon, Hadelin.
Andrzej Wajda. Presentation par Hadelin Trinon. Choix de textes et propos de Wajda, extraits de decoupages, panorama ...[Paris] Seghers [1964] Cinema d'aujourd'hui, 26
Main Stack PN1993.C4 v.26 NRLF #: $D 56 547

Wajda, Andrzej
O polityce, o sztuce, o sobie / Andrzej Wajda; wstep, wybor i uklad tekstow Maria Malatynska; rysunki Andrzej Wajda. Warszawa: Proszynski i S-ka, 2000.
Main Stack PN1998.3.W34.A5 2000b

Wajda, Andrzej
Wajda : [entretiens avec] Jean-Luc Douin. Paris: Cana, c1981. Collection "Memoire vivante" (Paris, France)
Main Stack PN1998.A3.W247 NRLF #: B 3 567 108

Wajda, Andrzej
Wajda filmy . Warszawa: Wydawnictwa Artystyczne i Filmowe, 2000.
Main Stack fPN1998.3.W34.A3 2000b

Wajda, Andrzej
Wajda mowi o sobie: wywiady i teksty / wstep, wybor i opracowanie Wanda Wertenstein. Wyd. 2. Krakow: Wydawn. Literackie, 2000.
Main Stack PN1998.3.W34.A5 2000

Wajda mowi o sobie: wywiady i teksty / wstep, wybor i opracowanie Wanda Wertenstein. Krakow: Wydawn. Literackie, 1991. Wajda, Andrzej, 1926
Main Stack PN1998.A3.W248 1991 NRLF #: B 3 685 923

Wlodarski, Piotr.
Pan Andrzej: opowiesc dokumentalna o Andrzeju Wajdzie / Piotr Wlodarski. Lodz: [s.n.], 2001.
Main Stack PN1998.3.W34.W58 2001

Ashes and Diamonds

Andrzejewski, Jerzy.
Ashes and Diamonds; Kanal; A Generation: Three Films London: Lorrimer; New York, N.Y.: Distributed by F. Ungar, c1984.
Main Stack PN1997.A1.A47131 1984

Coates, Paul.
"Forms of the Polish Intellectual's Self-Criticism: Revisiting Ashes and Diamonds with Andrzejewski and Wajda."Canadian Slavonic Papers-Revue Canadienne des Slavistes. 38(3-4):287-303. 1996 Sept-Dec
"Political developments in Poland before 1956 have influenced the Polish artists' works, particularly on the use of self-criticism. They were forced to use a self-critical approach indirectly. Examples of this are Jerzy Andrzejewski's novel 'Ashes and Diamonds' and Andrzej Wajda's film version of the novel. These works clearly displayed several examples of oblique self-criticism interlaced with self-justification." [Expanded Academic Index]

Gow, Gordon
"Ashes and diamonds." (review) Films & Filming Vol XXIII nr 6 (Mar 1977); p 22-25

Lewis, Cliff and Britch, Carroll.
"Andrzej Wajda's War Trilogy: A Retrospective." Film Criticism, Spring86, Vol. 10 Issue 3, p22-35, 14p
UC users only

Michalek, Boleslaw.
The Cinema of Andrzej Wajda. Translated by Edward Rothert. London, Tantivy Press; South Brunswick [N.J.] A. S. Barnes [c1973].
UCB Main PN1998.A3 W244
UCB Moffitt PN1998.A3 W244

Paul, David.
"Homevideo: Andrzej Wajda's War Trilogy." Cineaste v20, n4 (Oct, 1994):52 (3 pages).

Wajda, Andrzej.
Ashes and diamonds; Kanal; A generation: three films / by Andrzej Wajda. London: Lorrimer Publishing, 1973. (Series: Modern film scripts; 38)
Main Stack PN1997.A1.A47131

Wajda, Andrzej.
Wajda Films. Warszawa: Wydawnictwa Artystyczne i Filmowe, 1996
UCB Main PN1998.3.W34 A313 1996 1-2 (1996)

Canal (Kanal)

Andrzejewski, Jerzy.
Ashes and Diamonds; Kanal; A Generation: Three Films London: Lorrimer; New York, N.Y.: Distributed by F. Ungar, c1984.
Main Stack PN1997.A1.A47131 1984
Moffitt PN1997.W26713

Bukoski, Anthony
"Wajda's 'Kanal' and Mrozek's 'Tango.'" Literature-Film Quarterly, April 1992 v20 n2 p133(5)
"Andrzej Wajda's film 'Kanal' and Slawomir Mrozek's play 'Tango, or the Need for Harmony and Order' have different plots but share some remarkable similarities. In both works, scenes occur in what appears to be a middle class living room which because of its disorder represents moral decay. Moreover, references to the tango 'La Cumparsita' occur in both films in ways which refer to the conflict of proletarian and middle-class values. From these and other similarities, an allusion to the end of romanticism because of the brutality of the modern era is presented by both Mrozek and Wajda." [Expanded Academic Index]

Dowell, Pat.
"The Man Who Put Poland on the Post-war Map of Cinema: An Interview with Andrzej Wajda." Cineaste v19, n4 (Fall, 1992):51 (3 pages).

Falkowska, Janina.
The Political Films of Andrzej Wajda: Dialogism in Man of Marble, Man of Iron, and Danton / Janina Falkowska. Providence: Berghahn Books, 1996.
UCB Main PN1998.3.W34 F36 1995

Falkowska, Janina.
"'The Political' in the Films of Andrzej Wajda and Krzysztof Kieślowski."Cinema Journal. 34(2):37-50. 1995 Winter

Lewis, Cliff and Britch, Carroll.
"Andrzej Wajda's War Trilogy: A Retrospective." Film Criticism, Spring86, Vol. 10 Issue 3, p22-35, 14p
UC users only

Michalek, Boleslaw.
The Cinema of Andrzej Wajda. Translated by Edward Rothert. London, Tantivy Press; South Brunswick [N.J.] A. S. Barnes [c1973].
UCB Main PN1998.A3 W244
UCB Moffitt PN1998.A3 W244

Paul, David.
"Home video: Andrzej Wajda's War Trilogy." Cineaste v20, n4 (Oct, 1994):52 (3 pages).

Prendowska, Krystyna.
"Artist as Politician: An Interview with Polish Director Andrzej Wajda."Literature-Film Quarterly. 22(4):246-52. 1994

Trbic, Boris.
"A Generation and Kanal."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 14:(no pagination). 2001 June

Wajda, Andrzej.
Wajda Films. Warszawa: Wydawnictwa Artystyczne i Filmowe, 1996
UCB Main PN1998.3.W34 A313 1996 1-2 (1996)

Danton

Canby, Vincent
"Danton." (movie reviews) The New York Times Sept 28, 1983 v133 p20(N) pC19(L) col 1 (24 col in)

Dionne, E.J. Jr.
"Wajda film agitates French, Polish leaders." (Danton) The New York Times Jan 19, 1983 v132 p21(N) pC17(L) col 1 (28 col in)

Falkowska, Janina
The political films of Andrzej Wajda: dialogism in Man of marble, Man of iron, and Danton / Janina Falkowska. Providence: Berghahn Books, 1996.
Main Stack PN1998.3.W34.F36 1995

Head, A.
"Wajda's Danton."Sight & Sound Vol LII nr 2 (Spring 1983); p 82
Background to the play on which Andrzej Wajda's film "Danton" is based

Hunt, David.
"Andrzej Wajda And The "Reign Of The People."" Radical History Review 1984 (28-30): 141-150.
"Andrzej Wajda's recent film Danton is a conservative discouragement of political activism. It suggests that the French Revolution, and in particular Robespierre's Reign of Terror, was a forerunner to totalitarianism. Many Western conservatives have interpreted Robespierre as being like General Jaruzelski of Poland and Danton as being like Lech Walesa, a man of the people. In fact, Danton was the leader of a faction opposed to the popular movement in 1794. Wajda's misrepresentation of Danton is part of a general oversimplification of the French Revolution that merely confirms current conservative Western assumptions about that event." [Historical Abstracts]

Janes, Regina.
"Danton Does Not Sing La Marseillaise: Andrzej Wajda, Jean Renoir, and Their French Revolutions."Studies in Eighteenth-Century Culture. 25: 293-307. 1996.,
UC users only
"Discusses the depiction of the French Revolution and particularly the pivotal turning point of the September 1792 Paris massacres in Jean Renoir's 1938 French film La Marseillaise and Polish filmmaker Andrzej Wajda's 1982 production Danton. The two films take different perspectives, but both virtually ignore the revolution's moral complexities and sacrifice historical accuracy to reflect the politics of their times (the rise of fascism in the 1930's and the defeat of the Polish Solidarity movement in the early 1980's). Renoir takes a nationalist view, largely ignoring the fear, hatred, and class antagonism of the revolution, while Wajda presents it from the view of the bourgeoisie, focusing on revolutionary leader Georges Danton. Both filmmakers rewrote and refocused history to make a statement about the politics of their own time and place." [Historical Abstracts]

Lewis, Flora
"Danton." (movie reviews) The New York Times Jan 7, 1983 v132 p23(N) pA25(L) col 1 (20 col in)

Schickel, Richard.
"Danton." (movie reviews) Time Sept 26, 1983 v122 p76(1) (535 words)

A Generation (Pokolenie)

Andrzejewski, Jerzy.
Ashes and Diamonds; Kanal; A Generation: Three Films London: Lorrimer; New York, N.Y.: Distributed by F. Ungar, c1984.
Main Stack PN1997.A1.A47131 1984
Moffitt PN1997.W26713

Lewis, Cliff and Britch, Carroll.
"Andrzej Wajda's War Trilogy: A Retrospective." Film Criticism, Spring86, Vol. 10 Issue 3, p22-35, 14p
UC users only

Paul, David.
"Homevideo: Andrzej Wajda's War Trilogy."Cineaste v20, n4 (Oct, 1994):52 (3 pages).

Man of Iron (Czlowiek z Zelaza)

Falkowska, Janina.
The Political Films of Andrzej Wajda: Dialogism in Man of Marble, Man of Iron, and Danton / Janina Falkowska. Providence: Berghahn Books, 1996.
UCB Main PN1998.3.W34 F36 1995

Lewis, Cliff and Britch, Carroll.
"Light Out Of Poland: Wajda's Man Of Marble and Man Of Iron." Film & History 1982 12(4): 82-89.
Examines two films by Andrezj Wajda - Man of Marble (1976) and Man of Iron (1980) - as reflections of ongoing political resistance in Poland, demonstrating the ideologies of both films in the context of contemporary Polish nationalism.

Long, Kristi S.
"Man of Iron: Representing and Shaping Historical Consciousness through Film: A Polish Case."Journal of Popular Culture. 30(1):163-71. 1996 Summer
UC users only
"Reviews the Polish film Man of Iron made in 1981 by Andrzej Wajda. The film depicts the birth of Solidarity through the life of its fictitious hero Tomczyk, the leader of the 1980 Gdansk strike. The author examines three pivotal viewpoints in Wajda's interpretation of Solidarity. First, Solidarity is viewed as a movement in which the Polish nation is unified against the government. Secondly, the 1980 movement was a redemption/repetition of various events associated with the suppressed strike movement of 1970. Finally, Wajda's interpretation minimizes the contributions and accomplishments of female activists." [Historical Abstracts]

Michalek, Boleslaw.
The Cinema of Andrzej Wajda. Translated by Edward Rothert. London, Tantivy Press; South Brunswick [N.J.] A. S. Barnes [c1973].
UCB Main PN1998.A3 W244
UCB Moffitt PN1998.A3 W244

Paul, David.
"Homevideo: Andrzej Wajda's War Trilogy." Cineaste v20, n4 (Oct, 1994):52 (3 pages).

Scribner, Charity
"Engendering solidarity in Polish cinema: Andrzej Wajda's "Man of Iron" turns twenty-one."Slavic and East European Journal, Winter 2003 v47 i4 p551(18)
"Andrzej Wajda's films express the volumes about both the Solidarity trade union and the moment when state socialism entered its final crisis. His films like 'Man of Marble' and 'Man of Iron' continue to emit potent signals from Europe's past and offer unique perspectives of historical antagonism in Poland." [Expanded Academic Index]

Wajda, Andrzej.
Wajda Films. Warszawa: Wydawnictwa Artystyczne i Filmowe, 1996
UCB Main PN1998.3.W34 A313 1996 1-2 (1996)

Man of Marble(Nevinost bez Zastite)

Dawson, Jan
"Man of marble." (review) Sight & Sound Vol XLVIII nr 4 (Autumn 1979); p 260-261

Falkowska, Janina
The political films of Andrzej Wajda: dialogism in Man of marble, Man of iron, and Danton / Janina Falkowska. Providence: Berghahn Books, 1996.
Main Stack PN1998.3.W34.F36 1995

Haltof, Marek.
"The Representation Of Stalinism In Polish Cinema."Canadian Slavonic Papers [Canada] 2000 42(1-2): 47-61.
"Poland's Stalinist past, the postwar period of 1949 to October 1956, when the Soviet Union strictly controlled Polish life, first became the focus of Polish cinema in 1977 with the release of Andrzej Wajda's Czlowiek z Marmuru [Man of marble] condemning Stalinism. Wajda's work, which depicts a Kafkaesque 1950's world of accusations, manipulation, fear, and show trials, was the inspiration behind films (most of them about Stalinism) made during the brief period of Solidarity in the early 1980's, among them Wojciech Marczewski's Dreszcze [Shivers] (1981), Andrzej Baranski's Niech Cie Odleci Mara [The haunted] (1981; released in 1983), and Ryszard Bugajski's Przesluchanie [Interrogation] (1981; released in 1989). After 1989, the year marking the transition from totalitarianism to democracy in Poland, Polish audiences and critics appeared to have "tired of the politics, history and national martyrology." The Stalinist past became primarily the domain of documentary films but was also taken up in psychological dramas such as Barbara Sass's Pokuszenie [The temptation] (1995), comedies that "tame the past," and films with grotesque or comic elements." [Historical Abstracts]

Iordanova, Dina.
"The Political Films of Andrzej Wajda: Dialogism in Man of Marble, Man of Iron and Danton." Slavic and East European Journal. Winter 1997. Vol. 41, Iss. 4; p. 712 (2 pages)

Lewis, Cliff and Britch, Carroll.
"Light Out Of Poland: Wajda's Man Of Marble and Man Of Iron." Film & History 1982 12(4): 82-89.
Examines two films by Andrezj Wajda - Man of Marble (1976) and Man of Iron (1980) - as reflections of ongoing political resistance in Poland, demonstrating the ideologies of both films in the context of contemporary Polish nationalism.

Maland, Charles.
"Memories and Things Past: History and Two Biographical Flashback Films."East-West Film Journal. 6(1):66-93. 1992 Jan

Pan Tadeusz

Ivaskievicius, Marius
"Your Master, Your Thaddeus." Dialogue & Universalism; 2000, Vol. 10 Issue 3/4, p135, 5p
UC users only

Janion, Maria, et al.
"Why Does It So Delight?" Dialogue & Universalism; 2000, Vol. 10 Issue 3/4, p141, 11p
UC users only

Maslon, Krzystof
"The Hexameter Therapy." Dialogue & Universalism; 2000, Vol. 10 Issue 3/4, p161, 3p
UC users only

Rodzinska-Chojnowska, Aleksandra.
"Pan Tadeusz--Polishness and Universalism In Literature and the Cinema." Dialogue & Universalism, 2000, Vol. 10 Issue 3/4, p11, 30p
UC users only

Van Gelder, Lawrence
"Homage to a poet who loved Poland." ('Pan Tadeusz: The Last Foray in Lithuania')(Review)_(movie reviews) The New York Times Jan 22, 2000 pA22(N) pB16(L) col 1 (15 col in)

Krzysztof Kieślowski

Amiel, Vincent.
Kieślowski / par Vincent Amiel. Paris: Editions Payot & Rivages, c1995. Rivages/cinema; 29
Main Stack PN1998.3.K54.A66 1995

Anker, Roy
""Out of the darkness": entering the world of Krzysztof Kieślowski." (Obituary) Books & Culture, March-April 2004 v10 i2 p36(2)

Bondebjerg, Ib
"A Visual Kafka in Poland." p.o.v: A Danish Journal of Film Studies, vol. 13, pp. 75-83, March 2002

Cassin, Ray.
"Kieślowski, R.I.P." Image: A Journal of the Arts and Religion. 14: 91-98. 1996 Summer.

Coates, Paul.
"Exile and Identity: Kieślowski and His Contemporaries." In: Before the Wall came down: Soviet and East European filmmakers working in the West / edited by Graham Petrie, Ruth Dwyer. pp: 103-114. Lanham, Md.: University Press of America, c1990.
Main Stack PN1993.5.E82.B44 1990
Moffitt PN1993.5.E82.B44 1990

Cornell, Katharine.
"The Cinema of Ambivalence: Recent Films from Central and Eastern Europe." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema. 21 (3): 28-30. 1995.
UC users only
"Filmmakers from east and central Europe are searching for more relevant topics in the wake of the end of communism in their region. recent popular films that have gained popularity include Wadislaw Paskowski's 'Pigs ' which is depicts the heroic exploits of former secret police. Social realism pervades the films made by Istvan Szabo's 'Sweet Emma, Dear Bobe' and Krzysztof Kieślowski's trilogy 'Red,' 'White,' and 'Blue.' Meanwhile, Mariusz Grzegorzek's 'Conversations with a Cupboard Man,' portrays the moral vacuum left by the political transition." [Expanded Academic Index]

Cummings, Doug
"Kieślowski, Krzysztof." (Great Directors, A Critical Database)Senses of Cinema

Darke, Chris, and Geoffrey Macnab.
"Working with Kieślowski.(three former colleagues on film director Krzysztof Kieślowski)(Interview)." Sight and Sound 6.n5 (May 1996): 16(5).
"The Cinematographer Witold Stok says that Krzystof Kieślowski made documentaries to describe the real world and his quest for truth in films was legendary. He asserts that Kieślowski's focus on sound as a major element in films was an unorthodox practice. The poster maker and illustrator Andrzej Krauze remembers Kieślowski as a straightforward man, who ensured freedom to work, avoided controversial themes, and made films within the system. The music composer Zhigniew Preisner feels that music comprised one of the strong elements in Kieślowski's films and often offset the need for dialogue." [Expanded Academic Index]

Falkowska, Janina
"'The Political' in the Films of Andrzej Wajda and Krzysztof Kieślowski." Cinema Journal. 34 (2): 37-50. 1995 Winter.
UC users only

Garbowski, Christopher.
"Double Lives and Lucid Dreams: Two Takes on Kieślowski." Polish Review. 45 (3): 367-72. 2000

Garbowski, Christopher.
"Kieślowski's Seeing I/EYE." Polish Review vol 40; issue 1 pp: 53-60

"Glowing in the dark. (attitudes of Krzysztof Kieślowski)." Sight and Sound 4.n6 (June 1994): 8(3).
"Krzysztof Kieślowski, popular Polish film director noted for his 'Three Colors' series, believes that a film should be reflect the eloquence of silence and at the same time be realistic to human problems. He feels that the adoption of different points of view in the narrative is more effective than a single point of view. He, however, plans to quit making films as he has lost patience, a quality essential for a good film-maker." [Expanded Academic Index]

Haltof, Marek.
The cinema of Krzysztof Kieślowski : variations on destiny and chance London ; New York : Wallflower, 2004.
MAIN: PN1998.3.K54 H35 2004
PFA : PN1998.3.K49 H35 2004

Haltof, Marek.
"Psychological Portraits: The Early Documentaries of Krzysztof Kieślowski." Kinoeye, vol. 4, no. 5, pp. [no pagination], November 2004

Hibbs, Thomas S.
"Kieślowski's Inescapable Moral Horizons." Chronicle of Higher Education, vol. 51, no. 24, pp. B15-B16, February 2005
UC users only

Insdorf, Annette.
Double lives, second chances: the cinema of Krzysztof Kieślowski / Annette Insdorf; foreword by Irene Jacob. 1st ed. New York: Miramax Books, c1999.
Main Stack PN1998.3.K54.I58 1999
PFA PN1998.3.K49.I58 1999 Pacific Film Archive collection; non-circulating

Kalinowska, Izabela
"Exile and Polish Cinema: From Mickiewicz and Slowacki to Kieślowski." In: Realms of exile : nomadism, diasporas, and Eastern European voices / edited by Domnica Radulescu. Lanham, Md. : Lexington Books, c2002.
Main Stack PN849.E9.R44 2002

Kickasola, Joseph G.
The films of Krzysztof Kieślowski : the liminal image New York : Continuum, 2004.
MAIN: PN1998.3.K54 K53 2004
PFA : PN1998.3.K49 K53 2004;
Table of contents http://www.loc.gov/catdir/toc/ecip0417/2004008974.html

"Kieślowski, Krzysztof." (Polish filmmaker)
Current Biography v56, n5 (May, 1995):37 (4 pages).
Polish filmmaker Krzysztof Kieślowski won critical acclaim for his films such as 'The Double Life of Veronique,''Three Colors' and 'Decalogue.' He was born on Jun. 27, 1941 in Warsaw and began his film career by directing 'From the City of Lodz' after graduating from the Lodz film school in 1969.

Kieślowski, Krzysztof
Kieślowski on Kieślowski / edited by Danusia Stok. London; Boston: Faber, 1993.
Main Stack PN1998.3.K54.A3 1993

Kilbourn, R. J. A.
"Toward a Non-Euclidean Cinema: Kieślowski and Literature." Canadian Journal of Film Studies/Revue Canadienne D'Etudes Cinématographiques, vol. 6, no. 2, pp. 34-50, Fall 1997

Krzysztof Kieślowski
Presente par Michel Esteve; avec des textes de Yvette Biro ... [et al.]. Paris: Lettres Modernes, 1994. Etudes cinematographiques; 203-210.
Main Stack PN1993.E8 no.203-210

Krzysztof Kieślowski
Textes reunis et presentes par Vincent Amiel. Paris: Jean-Michel Place, Positif, c1997.
Main Stack PN1998.3.K54.A4 1997

Krzystof Kieślowski
V. Attolini ... [et al.]; introduzione di Alizia Romanovic. Manduria: Barbieri, 1998. Collana di cultura cinematografica (Manduria, Italy); 4.
Main Stack PN1998.3.K54.K78 1998

Mann, Karen B.
"Kieślowski's Narrative Conscience: Physical Time and Mental Space." Quarterly Review of Film and Video. 19 (4): 343-53. 2002 Oct-Dec.
UC users only
"Krzysztov Kieślowski's motion pictures used temporal ambiguities to offer the possibility of characters learning by traveling through differing narrative trajectories. Consciousness achieves its highest purpose in Kieślowski when it becomes compassion for others who remain separate from each other although tied by profound similarity." [Expanded Academic Index]

Michalski, Milena.
"Trois Couleurs: Blanc." Slavonic and East European Review 73.n3 (July 1995): 592(2).

Michalski, Milena.
"Three Colours: Blue." Slavonic and East European Review 72.n4 (Oct 1994): 790(2).

Millar, Dan.
"A Great Polish Film-Maker: Krzysztof Kieślowski." Durham University Journal. 85 (54 (1)): 131-35. 1993 Jan.,

Murri, Serafino
Krzysztof Kieślowski / Serafino Murri. 2.ed. Milano: Castoro, c1997 Castoro cinema; 175.
Main Stack PN1998.3.K55.M87 1997

Nettelbeck, Colin W.
"Is There a 'European' Cinema? The 'French' Films of Krzysztof Kieślowski as Case-Study."Australian Journal of French Studies. 36 (1): 136-51. 1999 Jan-Apr

Perlmutter, Ruth, and Archie Perlmutter.
"A testament to Krzysztof Kieślowski.(Post-Communist Cinema)." Film Criticism 21.n2 (Winter 1996): 59(3).
UC users only
"The bio-documentary, 'Krzysztof Kieślowski: I'm So-So,' shows the Polish director's wit and exceptional character. The film is a compilation of views of Kieślowski by a cardiologist, a graphologist, and a clairvoyant, short sequences from his films, and an interview exploring the events of his life. Kieślowski was more interested in using film to raise metaphysical questions than in attempting to provide facile answers." [Expanded Academic Index]

Rayns, Tony
"Kieślowski: crossing over." (Krzystof Kieślowski) Sight and Sound March 1992 v1 n11 p22(2)

Rodriguez Chico
Azul, blanco, rojo : Kieślowski en busca de la libertad y el amor Madrid : Ediciones Internacionales Universitarias, 2004.
MAIN: PN1998.3.K54 R63 2004

Santilli, Paul C.
"Cinema and Subjectivity in Krzysztof Kieślowski." Journal of Aesthetics and Art Criticism 64.1 (Winter 2006): 147(10).
UC users only

Skaff, Sheila; Luebbe, Chris
"When an Exception Is Just an Exception: Slavoj Zizek's The Fright of Real Tears: Krzysztof Kieślowski between Theory and Post-Theory." Iowa Journal of Cultural Studies, vol. 3, pp. 181-87, Fall 2003

Tarantino, Michael
"Michael Tarantino on Krzysztof Kieslowsi" Artforum 29:4 December 1990 pp: 22-23

Wilson, Emma.
Memory and survival: the French cinema of Krzysztof Kieślowski / Emma Wilson. Oxford: Legenda, 2000. Research monographs in French studies; 7
Main Stack PN1998.3.K54.W55 2000

Wilson, Emma.
"Re-Viewing Voyeurism: Performance and Vision in Kieślowski." In: Powerful bodies: performance in French cultural studies / Victoria Best & Peter Collier (eds). Bern; New York: P. Lang, c1999. Modern French identities; v. 1
Main Stack PQ443.P685 1999

Zizek, Slavoj.
"Chance and Repetition in Kieślowski's Films." Paragraph: A Journal of Modern Critical Theory. 24 (2): 23-39. 2001 July.,

Zizek, Slavoj.
The fright of real tears: Krzysztof Kieślowski between theory and post-theory / Slavoj Zizek. London: BFI Publishing, 2001.
Grad Svcs PN1998.K55.Z59 2001 Non-circulating; may be used only in Graduate Services.
Main Stack PN1998.K55.Z59 2001

Blind Chance

Bradatan, Costica.
"Transcendence and History in Krzysztof Kieślowski's Blind Chance." East European Politics & Societies, Spring2008, Vol. 22 Issue 2, p425-446, 22p

The Decalogue

Cavendish, Phil.
"Kieślowski's Decalogue."Sight and Sound v59, n3 (Summer, 1990):162 (4 pages).

Clewell, Tammy
"The Shades of Modern Mourning in Three Colours Trilogy." Literature/Film Quarterly, vol. 28, no. 3, pp. 203-09, 2000
UC users only

Corliss, Richard.
"Decalogue." (movie reviews) Time v152, n4 (July 27, 1998):61 (1 page).
UC users only

Cunneen, Joseph.
"Kieślowski on the Mountaintop: Ten Commandments from the Late Polish Director." Commonweal v124, n14 (August 15, 1997):11 (4 pages).
"The late Polish filmmaker Krzysztof Kieślowski (1941-1996) created 'The Decalogue' which illustrated the ails of society by assimilating prevalent situations with the Ten Commandments. His liberal and contemporary approach to the films proved to be effective in forming critical views about life." [Expanded Academic Index]

Di Bartolomeo, Lisa
"No Other Gods: Blue and Green in Krzysztof Kieślowski's Dekalog I." Studies in Slavic Cultures, vol. 1, pp. 47-59, 2000

Garbowski, Christopher.
Krzysztof Kieślowski's Decalogue series: the problem of the protagonists and their self-transcendance / by Christopher Garbowski. Boulder: East European Monographs; New York: Distributed by Columbia University Press, 1996. East European monographs; no. 452
Main Stack PN1997.D433.G37 1996
Main Stack PN1997.D433.G37 1997 [another edition]

Garbowski, Christopher.
"Krzysztof Kieślowski's "Decalogue": Presenting Religious Topics on Television." Polish Review vol: 37 issue 3 1992 pp: 327-334

Grondelski, John M.
"From 'The Ten Commandments' to the 'Decalogue'."Journal of Religion and Film. 7 (1): 34 paragraphs. 2003 Apr

Hogan, Patrick Colm
"Tragic Lives: On the Incompatibility of Law and Ethics." College Literature; Summer2008, Vol. 35 Issue 3, p1-29, 29p
UC users only

Jameson, Fredric
"Dekalog as Decameron." In: Fredric Jameson : a critical reader / edited by Sean Homer and Douglas Kellner. Basingstoke, Hampshire ; New York : Palgrave Macmillan, 2004.
Table of contents http://www.loc.gov/catdir/toc/hol041/2003062096.html
Main Stack PN75.J36.F74 2004

Kauffmann, Stanley
"On Films - Kieślowski's Commandments." (Review)_(movie review) The New Republic June 26, 2000 p26 (1283 words)
UC users only

Klawans, Stuart.
"Obeying the Call Of Kieślowski's Commandments." (Arts and Leisure Desk)(The Decalogue)(Movie Review)The New York Times August 10, 2003 pAR18 col 01 (27 col in)

Labov, Jessie
"Kieślowski's Dekalog, Everyday Life and the Art of Solidarity." In: Screening the city / edited by Mark Shiel and Tony Fitzmaurice. London ; New York : Verso, 2003.
Environ Dsgn PN1995.9.C513.S37 2003
Main Stack PN1995.9.C513.S37 2003
PFA PN1995.9.C513.S37 2003

Ottenhoff, John.
"Shades of truth: encountering Kieślowski's 'Three Colors.' (filmmaker Krzysztof Kieślowski)(includes biographical information)." The Christian Century 113.n26 (Sept 11, 1996): 848(6).
UC users only

Perlmutter, Ruth.
"Testament of the Father: Kieślowski's 'The Decalogue.'"Film Criticism v22, n2 (Winter, 1997):51 (15 pages).
UC users only
"Krzysztof Kieślowski's ten-part serial 'The Decalogue,' first broadcast on Polish television from 1988-1989, serves at least as a multiple metaphor. The surface subject of the series is examining human frailty in light of the Ten Commandments, but Kieślowski is also interested in exploring the futility of political action in Poland as well as the tension between man and God. Kieślowski portrays people as isolated from God, yet trapped by imperative passions." [Expanded Academic Index]

Pope, Angela.
"In memory.(love and loss in 'Three Colors: Blue')." Sight and Sound 6.n8 (August 1996): 69(1).
"A filmmaker narrates her experience of selecting 'Three Colors: Red' as best movie out of the former, 'Four Weddings and a Funeral,' and 'Pulp Fiction.' She clarifies the reason of considering 'Three Colors: Blue' as the best in the 'Three Colours' trilogy. Her appreciation of 'Three Colors: Blue,' director Kieślowski's deft handling of script, actors, design, composition and music is discussed. A presence of a strong lobby for the movies 'Pulp Fiction' and 'Four Wedding and A funeral' is detailed." [Expanded Academic Index]

Porton, Richard
"The Decalogue." (movie review) Cineaste Summer 2001 v26 i3 p48 (2750 words)
UC users only

Rigney, Francis J.
"The Decalogue: A Psychoanalytic Deadlock." Film Criticism, Spring90, Vol. 14 Issue 3, p55-71, 17p
UC users only

Santilli, Paul
"The Truth about False Witnesses in Decalogue 2 & 8." Film and Philosophy, vol. 8, pp. 63-73, 2004

Tarantino, Michael.
"The Cave." (Krzysztof Kieślowski's film, "The Decalogue")Artforum v30, n4 (Dec, 1990):22 (2 pages).

Tennant, Agnieszka
"The Decalogue" (movie review) Christianity Today, Feb 5, 2001 v45 i2 p75
UC users only

Wall, James M.
"Immutable Truths: Inescapable Commandments."Christian Century v113, n32 (Nov 6, 1996):1059 (2 pages).
UC users only
"God's immutable truths often have to be experienced to be known. The idea is explored in Krystof Kieślowski's ten 'Decalogue films,' in which each of the Ten Commandments is shown to be an escapable truth. A spiritual experience is taken as truth in Joyce Carol Oates's 'We were the Mulvaneys.'" [Expanded Academic Index]

White, Jerry.
"Krzystof Kieślowski's Decalogue Series: The Problem of the Protagonists and Their Self-Transcendance.(Review)." Canadian Slavonic Papers 41.2 (June 1999): 233(235).

Wilmington, Michael
"Long Decade's Journey into Light." Film Comment, vol. 36, no. 2, pp. 9-10, March 2000

The Double Life of Veronique

Garbowski, Christopher
"Double Lives and Lucid Dreams: Two Takes on Kieślowski." Polish Review, vol. 45, no. 3, pp. 367-72, 2000

Knight, Christopher J.
""For Once, Then, Something": Krzysztof Kieslowski's The Double Life of Véronique and the Apophatic Beyond." Literature Film Quarterly, 2009, Vol. 37 Issue 4, p283-294, 12p
UC users only<

Lee, Hsiu-chuan
"The Woman Who Would Not Die: Voice, Mirror, and the Failed Metalanguage in The Double Life of Véronique." Concentric: Literary and Cultural Studies, vol. 28, no. 1, pp. 29-62, Winter 2003

Nagler, Lihi
"Singling Out the Double: Objectivity, Subjectivity and Alterity in Kieślowski's The Double Life of Véronique." Post Script: Essays in Film and the Humanities, vol. 22, no. 3, pp. 8-20, Summer 2003
UC users only

Three Colors

Ansen, David.
"Red." (movie reviews) Newsweek v124, n22 (Nov 28, 1994):66 (1 page).

Bromwich, David.
"Blue." The New Leader 77.n4 (April 11, 1994): 20(2).
UC users only

Clewell, Tammy.
"The Shades of Modern Mourning in Three Colours Trilogy." Literature/Film Quarterly. 28 (3): 203-09. 2000
"Issues related to artistic aspects of mourning as they appear in Polish film director Krzysztof Kieślowski's trilogy "Three Colours" are examined. Topics include the relationship between mourning and 20th-century human loss, the different forms loss takes in each of the three films, and the lingering power of social and erotic connection." [Expanded Academic Index]

Coates, Paul
"On the Dialectics of Filmic Colors (in general) and Red (in particular): Three Colors: Red, Red Desert, Cries and Whispers, and The Double Life of Véronique." Film Criticism, Spring2008, Vol. 32 Issue 3, p2-23, 22p
UC users only

Coates, Paul
"Kieślowski and the Antipolitics of Color: A Reading of the "Three Colors" Trilogy." Cinema Journal 41.2 (2002)
UC users only

Coates, Paul.
"The sense of an ending: reflections on Kieślowski's trilogy." (Polish director Krzysztof Kieślowski)Film Quarterly v50, n2 (Winter, 1997):19 (8 pages).
UC users only
"One must view Kieślowski's trilogy 'Three Colours' as a whole to understand it. 'Blue' shows a woman starting over after the death of her husband. 'White' is about a man who feels trapped and impotent. 'Red' is about people who find completion. The colours also symbolize the colors of the French flag and their meanings." [Expanded Academic Index]

Combs, Richard.
"Three Colours Red: Various Cinemas." (movie reviews) TLS. Times Literary Supplement Nov 25, 1994 n4782 p16(2)

Corliss, Richard.
"Red." (movie reviews) Time v144, n23 (Dec 5, 1994):93 (1 page).

Corliss, Richard.
"Three Colors: White." (movie reviews) Time v143, n26 (June 27, 1994):71 (1 page).

Corliss, Richard.
"Blue." (movie reviews) Time v142, n24 (Dec 6, 1993):90 (1 page).

Denby, David.
"Red." (movie reviews)Red. (movie reviews) New York v27, n47 (Nov 28, 1994):85 (1 page).

Evans, Georgina,
"Imagination and the Senses: Krzysztof Kieślowski's Trois Couleurs: Blanc." Paragraph, Jul2008, Vol. 31 Issue 2, p223-235, 13p

Evans, Georgina,
"Synaesthesia in Kieślowski's Trois couleurs: Bleu." Studies in French CinemaVolume: 5 | Issue: 2 August 2005 Page(s): 77-86
UC users only

Garn, Rimma.
"The Implied Author In Kieślowski's "White." Polish Review, 2007, Vol. 52 Issue 4, P487-508, 22p
UC users only

"Glowing in the dark." (attitudes of Krzysztof Kieślowski) Sight and Sound v4, n6 (June, 1994):8 (3 pages).
"Krzysztof Kieślowski, popular Polish film director noted for his 'Three Colors' series, believes that a film should be reflect the eloquence of silence and at the same time be realistic to human problems. He feels that the adoption of different points of view in the narrative is more effective than a single point of view. He, however, plans to quit making films as he has lost patience, a quality essential for a good film-maker." [Expanded Academic Index]

Green, Laurence
"Kieślowski's Grey." p.o.v: A Danish Journal of Film Studies, vol. 13, pp. 85-88, March 2002

Harvey, Miles.
"Poland's Blue, White, and Red." (films by director Krzysztof Kieślowski) Progressive v59, n4 (April, 1995):38 (2 pages).
"Krzysztof Kieślowski's 'Red,' the last in his acclaimed 'Three Colors' trilogy, was not nominated for an Academy Award for Best Foreign Film, even though most critics believe it is deserving of consideration. Kieślowski's life and directorial career are profiled." [Expanded Academic Index]

Insdorf, Annette.
"Cinematic Poetry: An affectionate look at Krzysztof Kieślowski's 'Three Colors...White.'" Film Comment v33, n2 (March-April, 1997):46 (4 pages).
UC users only
"'White' received the least amount of acclaim among Kieślowski's trilogy, but its audiovisual vocabulary shows the filmmaker as a cinematic poet. He uses recurring images to tell a story of human fallibility and transcendence, and his penetrating intelligence is free of didacticism." [Expanded Academic Index]

Johnson, Brian D.
"Red." (movie reviews) Maclean's v107, n48 (Nov 28, 1994):87 (1 page).

Kauffmann, Stanley.
"Blue." (movie reviews) New Republic v210, n24 (June 13, 1994):32 (2 pages).

Kauffmann, Stanley.
"Red." (movie reviews) New Republic v211, n25 (Dec 19, 1994):26 (2 pages).

Kauffmann, Stanley.
"White." (movie reviews) New Republic v210, n24 (June 13, 1994):32 (2 pages).

Kehr, Dave.
"Three Colors." (movie reviews) Film Comment v30, n6 (Nov-Dec, 1994):10 (8 pages).
UC users only

Kemp, Philip.
"Trois Couleurs: Rouge" (Three Colours: Red). (movie reviews) Sight and Sound v4, n11 (Nov, 1994):54 (2 pages).

Klawans, Stuart.
"Red." (movie reviews) Nation v259, n20 (Dec 12, 1994):738 (3 pages).

Klawans, Stuart.
"White." (movie reviews) Nation v259, n4 (July 25, 1994):137 (1 page).

Klawans, Stuart.
"Three Colors: Blue." (movie reviews) Nation v257, n21 (Dec 20, 1993):778 (3 pages).

Lane, Anthony.
"Red." (movie reviews) New Yorker v70, n39 (Nov 28, 1994):155 (5 pages).

Lane, Anthony.
"Blue." (movie reviews) New Yorker v69, n42 (Dec 13, 1993):122 (4 pages).

Lee, Mark D.
"Learning to Let Go: Kieślowski's Bleu." French Review: Journal of the American Association of Teachers of French, vol. 76, no. 1, pp. 90-97, Fall 2002
Teaching the film 'Bleu' by Krzysztof Kieślowski in the context of an introductory course on French and Francophone cinema is discussed. The film's central metaphor is considered in relation to teaching and freedom.

Moore, Greggory
"An Artistic Consideration: Kieślowski's Judgement in Red." Film Journal, vol. 1, no. 7, pp. [no pagination], November 2003

Redner, Gregg.
"Fragments of a Life: Becoming-Music/Woman in Krzysztof Kieślowski's "Trois Couleurs: Bleu"." Studies in French Cinema, 2008, Vol. 8 Issue 3, p277-287, 11p
UC users only

Robinson, Helen Taylor.
"The Ego, the Eye, and the Camera Lens—A Psychoanalytic Reading of Traumatic Loss and Mourning in Krzysztof Kieślowski's Three Colours Blue (1993)." Psychoanalytic Inquiry, Sep/Oct2007, Vol. 27 Issue 4, p510-524, 15p
UC users only

Rushton, Richard
"Reading Three Colours: Blue." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 10, pp. (no pagination), November 2000

Sedinger, Tracey.
"The Kindness of Strangers: On the Political Modernity of Kieślowski's Red." LIT: Literature Interpretation Theory, Jul-Sep2007, Vol. 18 Issue 3, p237-259, 23p
UC users only

Simon, John.
"White." (movie reviews) National Review v46, n13 (July 11, 1994):62 (2 pages).
UC users only

Toh Hai Leong.
""Trois Couleurs" Trilogy: The Auteur's Preoccupation with (missed) chances and (missed) connections." Kinema, Spring96, Issue 5, p82-85, 4p

Vines, Lois
"Kieślowski's Red and Camus's The Fall: Redemption of a Judge-Penitent." Literature/Film Quarterly, vol. 31, no. 2, pp. 141-47, 2003
According to the famous filmmaker Krzysztof Kieślowski, a film can come closer to literature than one would imagine. Some of the features of his famous work, Red, are discussed.

Wall, James M.
"Blue." (movie reviews) Christian Century v112, n9 (March 15, 1995):283 (2 pages).

Wall, James M.
"White." (movie reviews) Christian Century v111, n9 (March 16, 1994):267 (1 page).

Wall, James M.
"Blue." (movie reviews) Christian Century v111, n9 (March 16, 1994):267 (1 page).

Wilson, Emma
"Three Colours: Blue: Kieślowski, Colour and the Postmodern Subject." Screen, vol. 39, no. 4, pp. 349-62, Winter 1998

Obituaries

"Died, Krzystof Kieślowski." (Polish film director, at age 54)(Milestones)(Brief Article)(Obituary) Time March 25, 1996 v147 n13 p23(1) (104 words)

Holden, Stephen.
"Krzysztof Kieślowski, maker of enigmatic films, dies at 54." (Obituary) The New York Times March 14, 1996 v145 pC19(N) pD21(L) col 1 (20 col in)

"Krzysztof Kieślowski." (Polish filmmaker)(Obituary) The Economist (US) March 23, 1996 v338 n7958 p91(1) (889 words)
UC users only
"Writer and director Kieślowski won worldwide acclaim for his films, in which coincidence is a main theme. A trilogy, 'Red,' 'White,' and 'Blue,' are perhaps his most famous recent works. He died on Mar 13, 1996, of a heart attack." [Expanded Academic Index]

Romania

4 Months, 3 Weeks & 2 Days

Porton, Richard.
"Not Just an Abortion Film: An Interview with Cristian Mungiu." Cineaste; Spring2008, Vol. 33 Issue 2, p35-39, 5p
UC users only

Ratner, Megan.
"Stunted Lives: On 4 Months, 3 Weeks, & 2 Days." Bright Lights Films Journal, February 2008 | Issue 59

Roddick, Nick.
"Eastern promise." Sight & Sound; Oct2007, Vol. 17 Issue 10, p36-39, 4p
UC users only

Uricaru, Ioana.
"4 Months, 3 Weeks and 2 Days: The Corruption of Intimacy." Film Quarterly Jun 2008, Vol. 61, No. 4: 12-17.
UC users only

Wilson, Emma.
"4 Months, 3 Weeks and 2 Days: An 'Abortion Movie'"? Film Quarterly Jun 2008, Vol. 61, No. 4: 18-23.
UC users only

The Death of Mr. Lazarescu

Arthur, Paul.
"A Meditation on The Death Of Mr. Lazarescu and Corporeal Cinema." Film Comment, May/Jun2006, Vol. 42 Issue 3, p44-49, 5p
UC users only

Brooke, Michael.
"The Death of Mr. Lazarescu" Sight & Sound, Aug2006, Vol. 16 Issue 8, p68-70, 2p
UC users only

Cousins, Mark.
"The Death of Mr. Lazarescu" Sight & Sound, Nov2005, Vol. 15 Issue 11, p27-27, 1p
UC users only

Filimon, Monica.
"In Short(s) about the New Romanian Cinema." Film Criticism, Winter2009/Spring2010, Vol. 34 Issue 2/3, p81-95, 15p
UC users only

Gilbey, Ryan.
"Chasing the ambulance." Sight & Sound, Aug2006, Vol. 16 Issue 8, p28-30, 3p
UC users only

Ioniță, Maria.
"Niki and Dante: Aging and Death in Contemporary Romanian Cinema." Film Criticism, Winter2009/Spring2010, Vol. 34 Issue 2/3, p37-50, 14p
UC users only

Porton, Richard.
"Resisting Manipulation: An Interview with Cristi Puiu By Richard Porton." Cinema Scope, Winter2011, Issue 45, p31-35, 5p
UC users only

Roddick, Nick.
"Eastern promise." Sight & Sound; Oct2007, Vol. 17 Issue 10, p36-39, 4p
UC users only

Sklar, Robert.
"The Death of Mr. Lazarescu" Cineaste, Summer2006, Vol. 31 Issue 3, p62-63, 2p
UC users only

Teodorescu, Jeanine; Munteanu, Anca.
"Lăzărescu, come forth!": Cristi Puiu and the Miracle of Romanian Cinema." Film Criticism, Winter2009/Spring2010, Vol. 34 Issue 2/3, p51-66, 16p
UC users only

Yugoslavia/Serbia/Croatia/Macedonia

"Balkan Cinema Resources." Cineaste, Summer 2007, Vol. 32 Issue 3, p65-65, 1p;
UC users only

Goulding, Daniel J.
Liberated cinema : the Yugoslav experience, 1945-2001 Bloomington : Indiana University Press, 2002.
MAIN: PN1993.5.Y8 G68 2002
PFA : PN1993.5.Y8 G68 2002

Horton, Andrew
"Laughter Dark & Joyous in Recent Films from the Former Yugoslavia." Film Quarterly, Vol. 56, No. 1 (Autumn, 2002), pp. 23-28
UC users only

Iordanova, Dina.
"Balkan Cinema in the 90s: An Overview." Afterimage, Jan2001/Feb2001, Vol. 28 Issue 4, p23, 4p,
UC users only

Iordanova, Dina.
Cinema of flames : Balkan film, culture and the media London : British Film Institute, 2001.
MAIN: PN1993.5.B28 I599 2001
PFA : PN1993.5.B28 I599 2001

Iordanova, Dina.
"Conceptualizing the Balkans in Film." Slavic Review. Winter 1996, Vol. 55 Issue 4, p882

Iordanova, Dina.
"Whose is This Memory?: Hushed Narratives and Discerning Remembrance in Balkan Cinema." Cineaste, Summer 2007, Vol. 32 Issue 3, p22-27, 6p;
UC users only

Levi, Pavle.
Disintegration in frames : aesthetics and ideology in the Yugoslav and post-Yugoslav cinema Stanford, Calif. : Stanford University Press, 2007.
MAIN: PN1993.5.Y8 L48 2007
Table of contents http://www.loc.gov/catdir/toc/ecip071/2006031230.html

"Rethinking Balkan Cinema." Cineaste, Summer 2007, Vol. 32 Issue 3, p1-1, 2/3p;
UC users only
"The article introduces the theme of cultural and historical context of films produced and directed in countries in the Balkan Peninsula. It cites the view that the Balkans is merely a geographic region with an unruly mix of cultures whose languages belong to different linguistic families and whose value systems are incompatible. In terms of film culture, the six autonomous nations that emerged from the former Yugoslavia share a cinematic tradition." [Ebsco]

Svetlana, Slapsak.
"Representations of Gender as Constructed, Questioned and Subverted in Balkan Films." Cineaste, Summer 2007, Vol. 32 Issue 3, p37-40, 4p;
UC users only
"The author considers the infusion of gender and history within the narratives of films produced and directed in the Balkan Peninsula. The author asserts that there is a continuity of misogyny in Balkan cinema, especially in the films of the former Yugoslavia. Almost without exception, these films featured a negative female character. There are, however, male and female directors who have also challenged Balkan cinematic gender conventions including Olga Malea and Vladimir Pogacic." [Ebsco]

Stoil, Michael Jon
Balkan cinema : evolution after the revolution Ann Arbor, MI : UMI Research Press, c1982
MAIN: PN1993.5.A39 .S8 1982

Emir Kusturica

Caviglia, Francesco.
"What is Rick Doing in the Balkans? Quotes from Casablanca in Kusturica's Black Cat, White Cat (1998)." p.o.v: A Danish Journal of Film Studies, vol. 14, pp. 41-52, December 2002

Dieckmann, Katherine.
"When Kusturica Was Away on Business." Film Comment 33:5 (September-October 1997) p. 44-46, 48-49 UC users only

Gocic, Goran.
Notes from the underground : the cinema of Emir Kusturica London ; New York : Wallflower Press, 2001.
MAIN: PN1998.3.K877 G63 2001
PFA : PN1998.3.K88 G63 2001

Horton, Andrew.
"Cinematic Makeovers and Cultural Border Crossings: Kusturica's Time of the Gypsies and Coppola's Godfather and Godfather II." In: Play it again, Sam : retakes on remakes / edited by Andrew Horton and Stuart Y. McDougal. Berkeley : University of California Press, 1998 UC users only

Horton, Andrew.
"Oedipus Unresolved: Covert and Overt Narrative Discourse in Emir Kusturica's "When Father Was Away on Business"." Cinema Journal Vol. 27, No. 4 (Summer, 1988), pp. 64-81
UC users only

Iordanova, Dina.
Emir Kusturica London : BFI Pub., 2002.
MAIN: PN1998.3.K88 I57 2002
PFA : PN1998.3.K88 I57 2002

Iordanova, Dina.
"Kusturica's 'Underground' (1995): historical allegory or propaganda?(Yugoslav film director Emir Kusturica)." Historical Journal of Film, Radio and Television 19.1 (March 1999): 69(1).

Keene, Judith.
"The Filmmaker as Historian, Above and Below Ground-Emir Kusturica and the Narratives of Yugoslav History." Rethinking History, 5:2, 233 - 253
UC users only

Maslin, Janet
"From former Yugoslavia revelry with allegory." [Underground] New York Times; 10/12/96, Vol. 146 Issue 50578, p18, 0p, 1bw

Kuzmanovich, Zoran.
"Time of the Gypsies." The Slavic and East European Journal, Vol. 37, No. 2 (Summer, 1993), pp. 267-268
UC users only

Marchetti, Silvia.
"Blending cultures, shifting homes: Emir Kusturica's Time of the Gypsies." Studies in European Cinema, 2008, Vol. 5 Issue 3, p197-206, 10p
UC users only

Quart, Leonard.
"Underground'." Slavic and East European Performance. Spring 1997, Vol. 17 Issue 1, p78

Wrathall, John.
"Gypsy Time." Sight and Sound, vol. 7, no. 12, pp. 10-13, December 1997

Yarovskaya, Marianna.
"Underground." Film Quarterly. Winter 1997-1998, Vol. 51 Issue 2, p50

Dusan Makavejev

Arthur, Paul.
"Escape from Freedom: The Films of Dusan Makavejev: Cineaste 27:1 (Winter 2001)
UC users only

Cozarinsky, Edgardo; Clarens, Carlos
"Dusan Makavejev interview." Film Comment Vol XI nr 3 (May-June 1975); p.47-51
D.M. talks about pornography, reactions to his films, the motivations of his characters and his ideas for future projects.

Crick, Philip
"Three East European Directors: Makavejev, Menzel, Jancsó." Screen 1970 11: 64-71
UC users only

Eagle, Herbert.
"Yugoslav Marxist Humanism and the Films of Dusan Makavejev." In: Politics, art and commitment in the East European cinema / edited by David W. Paul. London ; Basingstoke : Macmillan, 1983.
Main Stack PN1993.5.E82.P6 1983
Moffitt PN1993.5.E82.B44 1990

Goulding, Daniel J.
"The Films of Dusan Makavejev: Between East and West." In: Before the Wall came down : Soviet and East European filmmakers working in the West / edited by Graham Petrie, Ruth Dwyer. Lanham, Md. : University Press of America, c1990.
Main Stack PN1993.5.E82.B44 1990
Moffitt PN1993.5.E82.B44 1990)

Iordanova, Dina
"Conceptualizing the Balkans in Film." Slavic Review, Vol. 55, No. 4 (Winter, 1996), pp. 882-890
UC users only

Marsha Kinder
"Life and Death in the Cinema of Outrage, or, The Bouffe & the Barf." Film Quarterly, Vol. 28, No. 2 (Winter, 1974-1975), pp. 4-10
UC users only
M.K. describes the more outrageous and shocking incidents of "La grande bouffe" and "Sweet movie" while analyzing their meaning.

Parvulescu, Constantin.
"Betrayed Promises: Politics and Sexual Revolution in the Films of Márta Mészáros, Milos Forman and Dusan Makavejev." Camera Obscura, May2009, Vol. 24 Issue 71, preceding p77-105, 31p
UC users only

Power, Nina
"Blood and Sugar: The Films of Dusan Makavejev." Film Quarterly Mar 2010, Vol. 63, No. 3: 42–51.
UC users only

Privett, Ray.
"The Country of Movies: An Interview with Dusan Makavejev." Senses of Cinema, Issue No. 11, Dec 2000 - Jan 2001

Innocence Unprotected (Nevinost bez Zastite, Dir Dusan Makavejev, 1968)

Benelli, Dana.
"History, Narrative, and Innocence Unprotected." SubStance: A Review of Theory and Literary Criticism, vol. 15 no. 3 (51). 1986. pp: 20-35.

Horton, Andrew.
"Bakhtin, Carnival Triumph, and Cinema: Bruno Barreto's 'Dona Flor and Her Two Husbands' and Dusan Makavejev's 'Innocence Unprotected' Reconsidered." (Mikhail Bakhtin) (Film Parody) Quarterly Review of Film and Video, v12, n1-2 (May, 1990):49 (14 pages)

Liebman, Stuart.
"Innocence Unprotected." (video recording reviews) Cineaste v20, n1 (Wntr, 1993):55.

Stoneman, Rod.
"Innocence Unprotected." (interview with Yugoslav film-maker Dusan Makavejev) (Interview) Sight and Sound v2, n3 (July, 1992):30 (2 pages).

Man Is Not a Bird (Covek Nije Tica)

Parvulescu, Constantin.
"Gleaming Faces, Dark Realities: Dusan Makavejev's Man Is Not a Bird and the Representation of the Working Class after Socialist Realism." Senses of Cinema, Oct2008 Issue 49, p26-26, 1p

WR: Mysteries of the Organism

Braad Thomsen, Christian
"Let's put the life back in political life'; an interview with Dusan Makavejev." Cineaste Vol VI nr 2 ( 1974); p.14-18
Makavejev explains how Wilhelm Reich's philosophy of sex has influenced his style of erotico-politico comedy filmmaking, especially noticeable in 'WR Misterije Organizma'.

Warren, Charles.
"Earth and Beyond: Dusan Makaveyev's WR: Mysteries of the Organism." In: Beyond Document: Essays on Nonfiction Film / edited by Charles Warren. pp: 205-42. Hanover, NH: University Press of New England, c1996.
Main Stack PN1995.9.D6.B48 1996
Moffitt PN1995.9.D6.B48 1996)

Reviews and Articles About Other Individual Films

Ballad of a Soldier (Ballada o soldate)
Barta, Peter I.; Hutchings, Stephen. "The Train as Word-Image Intertext in the Films 'Ballad of a Soldier' and 'Thief'" Intertexts, vol. 6, no. 2, pp. 127-44, 2002 Fall UC users only

Chukhrai, Grigori.
"A soldier's tale from Khrushchev's USSR." History Today. London: Nov 1995. Vol. 45, Iss. 11; pg. 48, 4 pgs
UC users only

Dunlop, John B.
"Grigorii Chukhrai's 'Ballad of a Soldier'" Stanford Slavic Studies, vol. 1, pp. 349-360, 1987.

Hatch, Robert.
"Ballad of a Soldier." Nation, 5/13/1961, Vol. 192 Issue 19, p420-420, 1p

Kauffmann, Stanley.
"Another Russian Problem." New Republic, 1/9/61, Vol. 144 Issue 2, p26-27, 2p

Levin, Julia.
"Ballad of a Soldier." Senses of Cinema, vol. 23, pp. (no pagination), November 2002.

Menashe, Louis.
"Patriotic Gauze, Patriotic Gore Russians at War." Cineaste; Summer2004, Vol. 29 Issue 3, p26-29, 4p
UC users only

White, Brynn.
"Ballad of a Soldier." Film Comment. May/Jun 2007. Vol. 43, Iss. 3; p. 50 (5 pages)
UC users only

Woll, Josephine
"Ballada o soldate/Ballad of a Soldier: Grigorii Chukhrai, USSR, 1959." In: The cinema of Russia and the former Soviet Union
Edited by Birgit Beumers ; [preface by Sergei Bodrov]. London ; New York : Wallflower Press, 2007.
Main Stack PN1993.5.R8.C564 2007

Youngblood, Denise J.
"A war remembered: Soviet films of the Great Patriotic War." American Historical Review; 2001, Vol. 106 Issue 3, p839-956, 118p

Closely Watched Trains (Ostre Sledované Vlaky)

Crick, Philip
"Three East European Directors: Makavejev, Menzel, Jancsó." Screen 1970 11: 64-71
UC users only

Hrabal, Bohumil.
Closely Watched Trains; A Film, by Jiri Menzel and Bohumil Hrabal. Translated from the Czech by Josef Holzbecher. New York, Simon and Schuster [c1971]
Main Stack PN1997.H7131

Liehm, Antonin J.
Closely Watched Films; The Czechoslovak Experience [by] Antonin J. Liehm. White Plains, N.Y., International Arts and Sciences Press [1974]
Main Stack PN1993.5.C9bL481

The Cranes are Flying

Condee, Nancy.
"Veronika fuses out: Rape and medium specificity in "The Cranes are Flying". Studies in Russian & Soviet Cinema v. 3 no. 2 (2009) p. 173-83

Menashe, Louis.
"Patriotic Gauze, Patriotic Gore Russians at War." Cineaste; Summer2004, Vol. 29 Issue 3, p26-29, 4p
UC users only

Mitchell Lifton.
"The Cranes Are Flying." Film Quarterly, Vol. 13, No. 3 (Spring, 1960), pp. 42-44

Prokhorov, Alexander.
"Soviet Family Melodrama of the 1940s and 1950s: From Wait for Me to The Cranes Are Flying." In: Imitations of life : two centuries of melodrama in Russia / edited by Louise McReynolds and Joan Neuberger. Durham [N.C.] : Duke University Press, 2002.
Main Stack PG3089.M44.I53 2002

Shrayer, Maxim D.
"Why Are the Cranes Still Flying?" Russian Review: An American Quarterly Devoted to Russia Past and Present, vol. 56, no. 3, pp. 425-39, Summer 1997.

Woll, Josephine.
The cranes are flying London ; New York : I.B. Tauris ; New York : Distributed in the U.S. and Canada by St. Martin's Press, 2003.
Available online [UCB users only]

Youngblood, Denise J.
"A war remembered: Soviet films of the Great Patriotic War." American Historical Review; 2001, Vol. 106 Issue 3, p839-956, 118p

Youngblood, Denise J.
Russian war films : on the cinema front, 1914-2005 Lawrence : University Press of Kansas, c2007.
Main Library
PFA: PN1995.9.W3 Y68 2007

Repentance (Monanieba)

Aleinikov, Igor
"Between the Circus and the Zoo." In: Russian Critics on the Cinema of Glasnost
Edited by Michael Brashinsky, Andrew Horton. Cambridge; New York: Cambridge University Press, c1994. Series title: Cambridge studies in film.
UCB Main PN1993.5.R92 R877 1994

Christensen, Julie.
"Tengiz Abuladze's 'Repentance' and the Georgian nationalist cause. (motion picture)." Slavic Review 50.n1 (Spring 1991): 163(13).
UC users only

Christensen, Julie.
"Tengiz Abuladze's Repentance: Despair in the Age of Perestroika Soviet and East-European Drama, Theatre and Film, vol. 8, no. 2-3, pp. 64-72, December 1988

Colakis, Marianthe.
"A glasnost 'Antigone': Tengiz Abuladze's 'Repentance'.(Critical Essay)." Classical and Modern Literature: A Quarterly 19.2 (Wntr 1999): 173(6).

Ismailova, N.
"A Call to the Living: A Review of Three Pictures by Tenghiz Abuladze." In: Perestroika and development of culture : literature, theatre, and cinema / compiled by Yevgeni Dugin. New Delhi : Sterling Publishers, c1989.
Main Stack DK287.P47 1989

Khloplyankina, Tatyana
"On the Road that Leads to the Truth." In: Russian Critics on the Cinema of Glasnost
Edited by Michael Brashinsky, Andrew Horton. Cambridge; New York: Cambridge University Press, c1994. Series title: Cambridge studies in film.
UCB Main PN1993.5.R92 R877 1994

Youngblood, Denise J.
"Repentance (Monanieba)." American Historical Review 95.n4 (Oct 1990): 1133(4).

Waters, Elizabeth
"The Policies of Repentance: History, Nationalism and Tengiz Abuladze." Australian Slavonic & East European Studies, vol. 2, no. 1, pp. 113-142, 1988

Winter, Elizabeth.
"Repentance." Times Literary Supplement n4432 (March 11, 1988 n4432): 281(1).

Woll, Josephine.
"Soviet cinema: a day of repentance." Dissent 35.n2 (Spring 1988): 167(3).



Copyright (C) 1996 by the Library, University of California, Berkeley. All rights reserved.
Document maintained on server: http://www.lib.berkeley.edu/ by
Gary Handman, Head, Media Resources Center.
Last update 05/18/12 [gh]

MRC web graphics by Mary Scott, Graphics Office, The Teaching Library