Soviet Art House: Lenfilm Studio under Brezhnev
Soviet Art House: Lenfilm Studio under Brezhnev
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Abstract
This book examines cinema in the Brezhnev era from the perspective of one of the USSR’s largest studios, Lenfilm. Producing around thirty feature films per year, the studio had over three thousand employees working in every area of film production. The discussion covers the period from 1961 to the collapse of centralized state facilities in 1986. The book focuses particularly on the younger directors at Lenfilm, those who joined the studio in the recruiting drive that followed Khrushchev’s decision to expand film production. Drawing on documents from archives, the analysis portrays film production “in the round” and shows that the term “censorship” is less appropriate than the description preferred in the Soviet film industry itself, “control,” which referred to a no less exigent but far more complex and sophisticated process. The book opens with four framing chapters that examine the overall context in which films were produced: the various crises that beset film production between 1961 and 1969 (chapter 1) and 1970 and 1985 (chapter 2), the working life of the studio, and particularly the technical aspects of production (chapter 3), and the studio aesthetic (chapter 4). The second part of the book comprises close analyses of fifteen films that are typical of the studio’s production. The book concludes with a brief survey of Lenfilm’s history after the Fifth Congress of the Filmmakers’ Union in 1986, which swept away the old management structures and, in due course, the entire system of filmmaking in the USSR.
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Front Matter
- Introduction: The Art House in Space and Time
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1
Big Hopes and Trouble, 1961–1969
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2
“Serious” Cinema and the Box Office: Lenfilm, 1970–1985
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3
The Cinema Centaur: Lenfilm as Production Line
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4
Nonexistent Reality: The Lenfilm Aesthetic
- 5 Pleasure and Danger: Yuly Fait, A Boy and a Girl (1966)
- 6 The Indifference of Time: Gennady Shpalikov, A Long Happy Life (1967)
- 7 Regulated Immediacy: Viktor Sokolov, A Day of Sunshine and Rain (1967)
- 8 More in Expectation Than Hope: Naum Birman, Chronicle of a Dive-Bomber (1967)
- 9 Cold War Fears: Savva Kulish, The Dead Season (1968)
- 10 Personal Happiness: Vitaly Melnikov, Mother’s Got Married (1969)
- 11 Trust in Talent: Ilya Averbakh, Monologue (1972)
- 12 Spontaneous Music: Dinara Asanova, Woodpeckers Don’t Get Headaches (1975)
- 13 Fervor and Tenderness: Gleb Panfilov, May I Speak? (1975)
- 14 Private Grief, Public Mourning: Sergei Mikaelyan, The Widows (1977)
- 15 Ludic Love: Kira Muratova, Getting to Know the Wide World (1978)
- 16 Cast a Cold Eye: Boris Frumin, The Errors of Youth (1978)
- 17 Socialist Embarrassment: Viktor Tregubovich, Go If You’re Going (1978)
- 18 The Power of Irony: Igor Maslennikov, The Queen of Spades (1982)
- 19 Hystoria: Aleksei German, My Friend Ivan Lapshin (1984)
- Conclusion: Art House beyond the Art House
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End Matter
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