Russians in Hollywood, Hollywood's Russians


Book Description

The story of Russian emigres in Hollywood and the depiction of Russians in Hollywood films




Russian Writings on Hollywood


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Cold War II


Book Description

Contributions by Thomas J. Cobb, Donna A. Gessell, Helena Goscilo, Cyndy Hendershot, Christian Jimenez, David LaRocca, Lori Maguire, Tatiana Prorokova-Konrad, Ian Scott, Vesta Silva, Lucian Tion, Dan Ward, and Jon Wiebel In recent years, Hollywood cinema has forwarded a growing number of images of the Cold War and entertained a return to memories of conflicts between the USSR and the US, Russians and Americans, and communism and capitalism. Cold War II: Hollywood’s Renewed Obsession with Russia explores the reasons for this sudden reestablished interest in the Cold War. Essayists examine such films as Guy Ritchie’s The Man from U.N.C.L.E., Steven Spielberg’s Bridge of Spies, Ethan Coen and Joel Coen’s Hail, Caesar!, David Leitch’s Atomic Blonde, Guillermo del Toro’s The Shape of Water, Ryan Coogler’s Black Panther, and Francis Lawrence’s Red Sparrow, among others, as well as such television shows as Comrade Detective and The Americans. Contributors to this collection interrogate the revival of the Cold War movie genre from multiple angles and examine the issues of patriotism, national identity, otherness, gender, and corruption. They consider cinematic aesthetics and the ethics of these representations. They reveal how Cold War imagery shapes audiences’ understanding of the period in general and of the relationship between the US and Russia in particular. The authors complicate traditional definitions of the Cold War film and invite readers to discover a new phase in the Cold War movie genre: Cold War II.




Blockbuster History in the New Russia


Book Description

Seeking to rebuild the Russian film industry after its post-Soviet collapse, directors and producers sparked a revival of nationalist and patriotic sentiment by applying Hollywood techniques to themes drawn from Russian history. Unsettled by the government's move toward market capitalism, Russians embraced these historical blockbusters, packing the American-style multiplexes that sprouted across the country. Stephen M. Norris examines the connections among cinema, politics, economics, history, and patriotism in the creation of "blockbuster history"—the adaptation of an American cinematic style to Russian historical epics.




Americans Experience Russia


Book Description

Americans Experience Russia analyzes how American scholars, journalists, and artists experienced and interpreted Russia/the Soviet Union over the last century. It critically engages with postcolonial theories which posit that a self-valorizing, unmediated west dictated the colonial encounter. In examining the fiction, film, journalism, treatises, and histories Americans produced out of their 'Russian experience, ' this volume closely analyzes these texts, locates them in their sociopolitical context, and gauges how their producers' profession, politics, gender, class, and interaction with native Russian interpreters conditioned their authored responses to Russian/Soviet reality.




Ayn Rand and Song of Russia


Book Description

In October 1947, more than twenty years after leaving Russia, Ayn Rand testified before the House Un-American Activities Committee (HUAC), which was investigating communist infiltration of the motion picture industry. The focus of that testimony was Song of Russia, a 1944 pro-Soviet film that Rand decried for its unrealistic, absurdly flattering portrait of life in the communist country. Ayn Rand scholar Robert Mayhew focuses on this controversial period of American and Hollywood history by examining both the film and the furor surrounding Rand's HUAC testimony. His analysis provides the first detailed history of any of the pro-Soviet films to come out of 1940s Hollywood. Mayhew begins by offering a brief synopsis of the MGM film, followed by an account of its production, as well as its reception. Most significantly, Mayhew analyzes Rand's appearance before HUAC and discusses the response to her much-maligned testimony. By carefully scrutinizing this one episode in the history of communism and anti-communism in 1940s Hollywood, Mayhew presents a more accurate picture of those times and the issues surrounding them. His study allows for a re-evaluation of the role of communism in Hollywood, the nature of the HUAC, and even the Hollywood Ten. This book should be of interest to anyone interested in the life and thought of Ayn Rand, as well as to anyone interested in the history of Hollywood communism and of American film.




Multilingual La La Land


Book Description

Home to immigrants from more than 140 countries speaking over 180 languages, Los Angeles is a microcosm of the world. While Los Angeles' ethnic enclaves have been the subject of study by researchers from a wide range of fields, these enclaves remain under-researched from a linguistic standpoint. Multilingual La La Land addresses the sociolinguistic landscape of the Greater Los Angeles (GLA) area, providing in-depth accounts of the sixteen most spoken languages other than English in the region. Each chapter introduces the history of the language in the L.A. region, uses census figures and residential densities to examine location-based and network-based speech communities, and discusses the patterns of usage that characterize the language, including motivations to maintain the language. How these patterns and trends bear on the vitality of each language is a central consideration of this book.




A Companion to Russian Cinema


Book Description

A Companion to Russian Cinema provides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies. The most up-to-date and thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglected




The Catacazy Affair and the Uneasy Path of Russian-American Relations


Book Description

Constantin Catacazy whipped up scandal in Washington after his appointment there as Russian Ambassador in 1869, ignoring diplomatic protocol and defying social mores. By 1871, President Grant and his Cabinet requested that he be recalled. But the timing of this request overlapped with the visit of the tsar's son to the USA - a celebrated diplomatic event symbolising the friendship and good will between the two nations. Consequently, Catacazy was allowed to travel with the tsar's son, but only as a persona non grata. This tense resolution led many to worry about the future of the Russian-American friendship. With a keen sense of the human interest, Lee A. Farrow demonstrates that this affair was one of the earliest significant complications in the relationship between Russia and the USA. Using a lively micro-historical approach and fresh materials such as the letters of Catacazy and of Secretary of State Hamilton Fish from archives in the USA, UK and Russia, Farrow explores 19th-century politics and diplomacy, and the pre-suffrage power of women in the political arena through an investigation of the Washington wives' reactions to the controversial figure of Olga Catacazy. The result is a cutting-edge analysis of this pivotal episode in modern history.




Hollywood – a Challenge for the Soviet Cinema


Book Description

This book features four essays that illuminate the relationship between American and Soviet film cultures in the 20th century. The first essay emphasizes the structural similarities and dissimilarities of the two cultures. Both wanted to reach the masses. However, the goal in Hollywood was to entertain (and educate a little) and in Moscow to educate (and entertain a little). Some films in the Soviet Union as well as in the United States were conceived as clear competition to one another – as the second essay demonstrates – and the ideological opponent was not shown from its most advantageous side. The third essay shows how, in the 1980s, the different film cultures made it difficult for the Soviet director Andrei Konchalovsky to establish himself in the US, but nevertheless allowed him to succeed. In the 1960s, a genre became popular that tells the story of the Russian Civil War using stylistic features of the Western: The Eastern. Its rise and decline are analyzed in the fourth essay.