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David Bordwell. The Cinema of Eisenstein. Cambridge, MA: Harvard University Press, 1993. xviii, 316 pp. $65.00 cloth; $29.95 paper.

David Bordwell. The Cinema of Eisenstein. Cambridge, MA: Harvard University Press, 1993. xviii,... of the thirties, focusing here on the role film actors played as "minor functionaries in the court of King Joseph" (p. 83). Ekaterina Khokhiova's essay on "Forbidden Films of the 1930s" is a pio- neering attempt, based on extensive archival research, to consider the importance of those movies that virtually no one ever saw. Finally, Maya Turovskaya's discussion of 'Soviet Films of the Cold War" demonstrates why she is the doyenne of Russian film scholars. A few of the essays are in-depth examinations of one or two films. The chapter "Grigory Alexandrov's The Radiant Path° by the late Maria Enzenberger (to whom this volume is dedi- cated) is a fresh and insightful analysis. Likewise, Leonid Kozlov's "T,he Artist and the Shadow of Ivan," on Eisenshtein's struggle to make Ivan the Terrible "his way," is a stellar example of how socio-historical criticism is as important as textual analysis. Svetlana Boym, in "Soviet Documen - tary Mythologies of the 1980s," examines the paradoxes of the Stalin cult in the Gorbachev era by focusing on I Served in Staiin's Bodyguard and Is Stalin with Us?. Julian Graffy offers a chal- lenging perspective on the "unshelved films" phenomenon by comparing two of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Canadian-American Slavic Studies Brill

David Bordwell. The Cinema of Eisenstein. Cambridge, MA: Harvard University Press, 1993. xviii, 316 pp. $65.00 cloth; $29.95 paper.

Canadian-American Slavic Studies , Volume 30 (2-4): 424 – Jan 1, 1996

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Publisher
Brill
Copyright
© 1996 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0090-8290
eISSN
2210-2396
DOI
10.1163/221023996X01195
Publisher site
See Article on Publisher Site

Abstract

of the thirties, focusing here on the role film actors played as "minor functionaries in the court of King Joseph" (p. 83). Ekaterina Khokhiova's essay on "Forbidden Films of the 1930s" is a pio- neering attempt, based on extensive archival research, to consider the importance of those movies that virtually no one ever saw. Finally, Maya Turovskaya's discussion of 'Soviet Films of the Cold War" demonstrates why she is the doyenne of Russian film scholars. A few of the essays are in-depth examinations of one or two films. The chapter "Grigory Alexandrov's The Radiant Path° by the late Maria Enzenberger (to whom this volume is dedi- cated) is a fresh and insightful analysis. Likewise, Leonid Kozlov's "T,he Artist and the Shadow of Ivan," on Eisenshtein's struggle to make Ivan the Terrible "his way," is a stellar example of how socio-historical criticism is as important as textual analysis. Svetlana Boym, in "Soviet Documen - tary Mythologies of the 1980s," examines the paradoxes of the Stalin cult in the Gorbachev era by focusing on I Served in Staiin's Bodyguard and Is Stalin with Us?. Julian Graffy offers a chal- lenging perspective on the "unshelved films" phenomenon by comparing two of

Journal

Canadian-American Slavic StudiesBrill

Published: Jan 1, 1996

There are no references for this article.