1917-1927: Russian Film between the Old and the New: Genres, Narratives and Bodies
There are different forms of continuity and shifts in the Russian film after the October Revolution. On the one hand, films by Alexander Panteleev, Vladimir Gardin, and Czeslaw Sabinski adapted the new post-revolutionary reality to the established genres and narratives of the Russian prerevolutionar...
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| Publicat a: | URI:https://journals.openedition.org/res, |
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| Autor principal: | |
| Format: | Article ou chapitre numérique |
| Idioma: | Anglais |
| Publicat: |
Revue des études slaves
2019
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| Accés en línia: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumari: | There are different forms of continuity and shifts in the Russian film after the October Revolution. On the one hand, films by Alexander Panteleev, Vladimir Gardin, and Czeslaw Sabinski adapted the new post-revolutionary reality to the established genres and narratives of the Russian prerevolutionary cinema, and the stylistic tradition of the Russian film school was continued not only between 1917 and 1924 but also afterward. The new generation of filmmakers, the Soviet Avant-Garde (Lev Kuleshov, Dziga Vertov, Sergei Eisenstein, Vsevolod Pudovkin), was looking for different canon of representation. The article shows the interplay between the tradition and the shifts which could be discovered in common gestural behavior and the mode of its representation produced on the screen between 1924 and 1927. |
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