The second scholarly study in English to consider the creative role of the camera operator in the film-making process Represents the first scholarly study to offer a detailed analysis of the films of the Soviet avant-garde in their totality Crosses disciplinary boundaries and examines the relationship between cinema and the visual arts
The second scholarly study in English to consider the creative role of the camera operator in the film-making process Represents the first scholarly study to offer a detailed analysis of the films of the Soviet avant-garde in their totality Crosses disciplinary boundaries and examines the relationship between cinema and the visual arts
Philip Cavendish is Reader in Russian and Soviet Film Studies at the School of Slavonic and East European Studies, University College London. He is the author of Mining for Jewels: Evgenii Zamiatin and the Literary Stylization of Rus' (MHRA, 2000), and Soviet Mainstream Cinematography: The Silent Era (UCL, 2007).
Inhaltsangabe
List of Illustrations Acknowledgements Note on Transliteration and Conventions Abbreviations Introduction Chapter 1. The Theory and Practice of Camera Operation within the Soviet Avant-garde of the 1920s Chapter 2. Eduard Tisse and Sergei Eisenstein Chapter 3. Anatolii Golovnia and Vsevolod Pudovkin Chapter 4. Andrei Moskvin and the Factory of the Eccentric Actor (FEKS) Chapter 5. Danylo Demuts'kyi and Oleksandr Dovzhenko Conclusion Illustrations Filmography Bibliography Index of names and subjects
List of Illustrations Acknowledgements Note on Transliteration and Conventions Abbreviations Introduction Chapter 1. The Theory and Practice of Camera Operation within the Soviet Avant-garde of the 1920s Chapter 2. Eduard Tisse and Sergei Eisenstein Chapter 3. Anatolii Golovnia and Vsevolod Pudovkin Chapter 4. Andrei Moskvin and the Factory of the Eccentric Actor (FEKS) Chapter 5. Danylo Demuts'kyi and Oleksandr Dovzhenko Conclusion Illustrations Filmography Bibliography Index of names and subjects
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