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Wężowe źródło Nikołaja Lebiediewa a konwencja gatunkowa slashera

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Cybulski M.

Acta Polono-Ruthenica

2019

tom Tom 3 Nr XXIV

85-100

This article is an attempt to determine whether the successful film Snake Spring, directed by Nikolai Lebedev, can be considered the first slasher of Russian production. Slasher, as a subgenre of horror films, is not a typical phenomenon in Russian cinematography (or even more so Soviet), and its roots should be sought primarily in American culture and filmography.In this text, the author, first of all, focuses on the slasher as such, presents his distinguishing features and lists the most important pictures of the world’s cinematography representing this par-ticular subgenre.

Czy w ZSRR kręcono thrillery?

100%

Cybulski M.

Acta Polono-Ruthenica

2018

tom Tom 1 Nr XXIII

51-64

This article is an attempt to answer the question whether, in the specific conditions in which thecinematography of the Soviet Union was created and developed, we can talk about the productionof thrillers. The notion of the thriller is considered and attention is paid to the problem of the definitionof the term itself and the fact that some researchers do not treat the thriller as a genre at all.The thriller, associated by the Soviet decision-makers with Western culture (and thus also American),was perceived as a bourgeois creation, which made it an undesirable genre in the Soviet Union.Nevertheless, for many years immediately after the end of World War II and at the very end of theexistence of the historical empire, a series of films were created and they could be called thrillers inthe general modern sense of the word. Titles of Soviet films created in the years 1947–1991 havebeen chosen from the rich resources of cinematography of our eastern neighbours. At the cinemahistorian’s workshop, there were both images of well-known and popular Soviet directors(Boris Barnet, Stanisław Goworouchin, Eldar Riazanow), as well as slightly less known personalities,(Gieorgij Nikulin, Boris Durow).

Filmmaking as Cultural Aggression

100%

Shevchuk Y.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

2023

tom 34

nr 43

29-48

The article discusses cinematic depopulation, the strategy of appropriation of the colonized by the colonizer widely used in the Soviet and post-Soviet cinema made in Ukraine and Russia and, until now, never analyzed in academic literature. The cinematic depopulation is a mode of filmic representation whereby a given ethnoscape (Ukraine) is cleansed of its national community (Ukrainians) and instead is populated by the colonizer (Russians) as if it were an integral part of his historical territory. As a form of cultural imperialism, this strategy has, until quite recently, been widely used in both Soviet and post-Soviet Russian and Ukrainian filmmaking to promote the idea of Ukraine conceivable outside of and without the Ukrainian language, culture, and other attributes of Ukrainian identity.

К проблеме современного милитаризма. Как российская кинематография «освоила» чеченский конфликт

100%

Kajtoch W.

Przegląd Wschodnioeuropejski

2013

tom 4

365-391

In the article, the author analyses 19 feature movies and TV series produced from 1996 to 2010 by Russians and dedicated to Chechnya. The main observation is that during that time the approach to this particular subject was changing. The movies made in the years 1996-98, right after the Russian army had lost the socalled First Chechen War, propagated pacifistic ideas or suggested messianic explanation of those events. However, the movies made during the Second Chechen War (1999-2006) were dominated by praise for the Russian soldier as a defender of true Russian national and orthodox traditions. A picture of the enemy changed as well: no longer was it a Chechen, but an international Muslim terrorist. Finally, after 2006, Russian film industry started creating more profound, realistic movies, some of which focused on more universal moral problems.