Designing Russian Cinema
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Designing Russian Cinema
The Production Artist and the Material Environment in Silent Era Film
Rees, Eleanor
Bloomsbury Publishing PLC
07/2024
256
Mole
Inglês
9781350246355
Pré-lançamento - envio 15 a 20 dias após a sua edição
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Introduction
1. The Early-Russian Production Artist: Design, Creativity and Technology
I. Professional Backgrounds and Artistic Training
II. Collaborative Partnerships and Studio Practices
III. Roles and Responsibilities: From the Film Decorator to the Film Architect
2. The Rural Provinces
I. The Russian Landscape and the Search for a Native Cinema
II. Ethnographic Authenticity in late-Imperial Cinema
III. Transforming the Rural Environment: The Enchantment of Infrastructure and Technology in early Soviet Cinema
3. The Domestic Interior
I. The House as Entrapment: The Domestic Interiors of Boris Mikhin and Evgenii Bauer
II. The House as Ornament: Objects and the Desiring Gaze in late-Imperial Cinema
III. The House as Shelter: Material and Psychological Comfort in 1920s Soviet Cinema
4. The Workplace
I. The Private Study in Evgenii Bauer's Films: Individual Desire and Power Relations
II. Fantasy and the Everyday Reality of Labour: Aelita (1924) and The Overcoat (1926)
III. Cinematic Expressivity and Pleasure in the Industrial Workplace, from Engineer Prait's Project
(1918) to Golden Mountains (1931)
5. In the Studio and on the Stage
I. The Painter's Atelier
II. Cinema Studios and Auditoriums
III. The Circus Arena
Conclusion
Selected Bibliography
Filmography
Appendix
1. The Early-Russian Production Artist: Design, Creativity and Technology
I. Professional Backgrounds and Artistic Training
II. Collaborative Partnerships and Studio Practices
III. Roles and Responsibilities: From the Film Decorator to the Film Architect
2. The Rural Provinces
I. The Russian Landscape and the Search for a Native Cinema
II. Ethnographic Authenticity in late-Imperial Cinema
III. Transforming the Rural Environment: The Enchantment of Infrastructure and Technology in early Soviet Cinema
3. The Domestic Interior
I. The House as Entrapment: The Domestic Interiors of Boris Mikhin and Evgenii Bauer
II. The House as Ornament: Objects and the Desiring Gaze in late-Imperial Cinema
III. The House as Shelter: Material and Psychological Comfort in 1920s Soviet Cinema
4. The Workplace
I. The Private Study in Evgenii Bauer's Films: Individual Desire and Power Relations
II. Fantasy and the Everyday Reality of Labour: Aelita (1924) and The Overcoat (1926)
III. Cinematic Expressivity and Pleasure in the Industrial Workplace, from Engineer Prait's Project
(1918) to Golden Mountains (1931)
5. In the Studio and on the Stage
I. The Painter's Atelier
II. Cinema Studios and Auditoriums
III. The Circus Arena
Conclusion
Selected Bibliography
Filmography
Appendix
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Introduction
1. The Early-Russian Production Artist: Design, Creativity and Technology
I. Professional Backgrounds and Artistic Training
II. Collaborative Partnerships and Studio Practices
III. Roles and Responsibilities: From the Film Decorator to the Film Architect
2. The Rural Provinces
I. The Russian Landscape and the Search for a Native Cinema
II. Ethnographic Authenticity in late-Imperial Cinema
III. Transforming the Rural Environment: The Enchantment of Infrastructure and Technology in early Soviet Cinema
3. The Domestic Interior
I. The House as Entrapment: The Domestic Interiors of Boris Mikhin and Evgenii Bauer
II. The House as Ornament: Objects and the Desiring Gaze in late-Imperial Cinema
III. The House as Shelter: Material and Psychological Comfort in 1920s Soviet Cinema
4. The Workplace
I. The Private Study in Evgenii Bauer's Films: Individual Desire and Power Relations
II. Fantasy and the Everyday Reality of Labour: Aelita (1924) and The Overcoat (1926)
III. Cinematic Expressivity and Pleasure in the Industrial Workplace, from Engineer Prait's Project
(1918) to Golden Mountains (1931)
5. In the Studio and on the Stage
I. The Painter's Atelier
II. Cinema Studios and Auditoriums
III. The Circus Arena
Conclusion
Selected Bibliography
Filmography
Appendix
1. The Early-Russian Production Artist: Design, Creativity and Technology
I. Professional Backgrounds and Artistic Training
II. Collaborative Partnerships and Studio Practices
III. Roles and Responsibilities: From the Film Decorator to the Film Architect
2. The Rural Provinces
I. The Russian Landscape and the Search for a Native Cinema
II. Ethnographic Authenticity in late-Imperial Cinema
III. Transforming the Rural Environment: The Enchantment of Infrastructure and Technology in early Soviet Cinema
3. The Domestic Interior
I. The House as Entrapment: The Domestic Interiors of Boris Mikhin and Evgenii Bauer
II. The House as Ornament: Objects and the Desiring Gaze in late-Imperial Cinema
III. The House as Shelter: Material and Psychological Comfort in 1920s Soviet Cinema
4. The Workplace
I. The Private Study in Evgenii Bauer's Films: Individual Desire and Power Relations
II. Fantasy and the Everyday Reality of Labour: Aelita (1924) and The Overcoat (1926)
III. Cinematic Expressivity and Pleasure in the Industrial Workplace, from Engineer Prait's Project
(1918) to Golden Mountains (1931)
5. In the Studio and on the Stage
I. The Painter's Atelier
II. Cinema Studios and Auditoriums
III. The Circus Arena
Conclusion
Selected Bibliography
Filmography
Appendix
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
