The Red Screen: Politics, Society, Art in Soviet Cinema

By Anna Lawton | Go to book overview

CHAPTER 8

The New Wave in Soviet Cinema

HERBERT MARSHALL

In the 1960s and 1970s, an increasing number of Soviet films began treating the problem of artistic creation and depicting the writers, poets, musicians and painters of the past: Chekhov, Tchaikovsky, Vazha-Pshavela, Andrei Rublev, Sayat-Nova, Pirosmani, as well as some contemporary fictional figures such as the artist heroine in V ogne broda net.1

These films deal with the moral or ethical questions related to the duty of an artist to his people and his age. The questions were given expression in the post-Stalin period, but they were the basic ones that Soviet artists had to face all along, as Tvardovsky has written in his epic poems Za dal'iu dal' (Beyond the Beyond) and Po pravu pamiati (The Righ t to Remember).2

This is part of the New Wave in Soviet cinematography which had been missing since the middle of the 1950s, when the theme of the artist and his art disappeared from the screen. Soviet critics point out that for a time there had been a kind of taboo on these themes, because they had been compromised by a series of stereotyped and schematic "socialist realist" productions of the malokartinnyi (limited production) period under Stalin. 3

The theme of truth and deceit by the artists had been dealt with in Soviet cinema first by Mayakovsky in his own early films, 4 then by Lev Kuleshov in his film The Great Counselor based on the creative work of O. Henry. 5 In his last days, Eisenstein, too, was working on a script based on the life and art of Pushkin which was never completed. 6

The Soviet critics of the 1960s admit that the dichotomy between the biography of an artist and his creation that was shown in the Stalinist socialist realist biographical films has in contemporary

-175-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
The Red Screen: Politics, Society, Art in Soviet Cinema
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 360

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.