Emir Kusturica

Dusan Makavejev

Articles and Books on other individual Eastern European or Russian films

[Click on a film] Burnt by the Sun Closely Watched Trains Innocence Unprotected Repentance Trois Couleurs (Blue, White, Red)

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

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

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

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

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

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

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

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.

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

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

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

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

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.

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.

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

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-sc`enes 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.

"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.

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, P.

"Early Soviet Cinema: Innovation, Ideology and Propaganda." The Modern Language Review 99.1 (Jan 1, 2004): 273(2).

UC users only

Chapron, Joel

"Blockbuster a la russe." Cahiers du Cinema 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]

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]

Jones, J.P.

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

UC users only

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).

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.

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]

Roberts, Graham. "Inside Soviet Film Satire: Laughter with a Lash." Europe-Asia Studies 48.n1 (Jan 1996): 163(3).

UC users only

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

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.

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).

"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).

Woll, Josephine.

"Russian Critics on the Cinema of Glasnost." Historical Journal of Film, Radio and Television 15.n3 (August 1995): 440(2).

UC users only

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 Dovzhenko

The Poet as Filmmaker; Selected Writings [by] Alexander Dovzhenko. Edited, translated and with an introd. by Marco Carynnyk. Cambridge, Mass., MIT Press, [1973].

UCB Moffitt PN1998.A3 .D6413 1973 *c2 copies

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

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

"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]

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.

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:

[Click on a film] Alexander Nevsky Battle Ship Potemkin Ivan the Terrible October (Ten Days That Shook the World) Que Viva Mexico Strike

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

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.

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

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

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]

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).

"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 Edw