In particular, I thank, in the Soviet Union, Sergei Dobrotvorsky of the Modem Culture division of the Leningrad State Institute of Theater, Music, and Film Peter Shepotinnik, head of the Foreign Department of Iskusstvo kino magazine,- and my mother, Tamara Brashinsky, who was greatly supportive of me, both overseas and in the United States. Michael brashinsky: I wish to express my deep gratitude and ap preciation to all those friends and colleagues who have helped me at different stages of the research, writing, and editing of this book. Finally, our thanks to Jane Lincoln Taylor, our copyeditor, who worked with us with the kind of patience, professionalism, and respect that any author would be happy to receive. Valerie Jablow, her assistant, has also helped make this project a pleasure, especially on endless long-distance phone calls. 19.Ĭommissar (1967) IK Assuage My Sorrows (1989) SE BOMZH (1988) IK The Name Day (1988) IK A Mirror for a Hero (1988) SE Assa (1988) SE Is It Easy to Be Young! (1987) SE Assa (1988) SE Coma (1989) IK Little Verfl (1988) SE Intergirl SE Is Stalin with Us! (1989) IK The Cold Summer of ’53 (1987) SE The Man from Capuchins Boulevard (1987) IK Zerograd (1989) SE The Fountain (1988) IK The Photo with a Woman and a Wild Boar (1987) IK Repentance (1984) IK Taxi Blues (1990) IKĪcknowledgmen ts We offer special gratitude to our editor, Joanna Hitchcock of Princeton University Press, for her imagination, generosity, and good humor in believing in the timeliness of this project and helping see it through with dispatch. Illustrations All photographs appear by permission of Sovexportfilm, identified as SE, or the film journal Iskusstvo kino, identified as IK.įollowing page 124 1. The Islands of the Continent: A Revised Map tor Ethnic Cinemas From Accusatory to Joyful Laughter: Restructuring the Soviet Comic Satiric Muse Down with Stuttering: Soviet Popular Genres and the New Film LanguageĬhapter 6. Is It Easy to Be Honest? Glasnost in the Documentary FilmĬhapter 5. "Wherever Will I Begin?" Soviet Women in Cinema and on FilmĬhapter 4. "We Are Your Children": Soviet Youth, Cinema, and Changing ValuesĬhapter 3. Back to the Present: (Re)presenting the Soviet Past in Feature FilmsĬhapter 2.
God's Tramp (Bich bozhii, 1989)Ĭontents List of Illustrations AcknowledgmentsĬhapter 1. The Soviet Union who have not lost hope yet, and to those who already have. To my mother and to all my relatives and friends in To my father, who did not live till glasnost Printed in the United States of America 1 3 5 7 9 10 8 6 4 2
Princeton University Press books are printed on acid-free paper, and meet the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources Filmography: Includes bibliographical references and index.
The zero hour : glasnost and Soviet cinema in transition / Andrew Horton and Michael Brashinsky p. Library of Congress Cataloging-in-Publication Data Horton, Andrew. In Place of a Conclusion: The Zero Hour.Ĭopyright © 1992 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, Oxford All Rights Reserved The Islands of the Continent: A Revised Map for Ethnic Cinemas. From Accusatory to Joyful Laughter: Restructuring the Soviet Comic-Satiric Muse. Down with Stuttering: Soviet Popular Genres and the New Film Language.Ĭhapter 6. Is It Easy to Be Honest? Glasnost in the Documentary Film.Ĭhapter 5. Glasnost: Down with Stuttering.Ĭhapter 4. "Wherever Will I Begin?" Soviet Women in Cinema and on Film. "We Are Your Children": Soviet Youth, Cinema, and Changing Values.Ĭhapter 3. Back to the Present: (Re)presenting the Soviet Past in Feature Films.Ĭhapter 2.
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