Oksana Bulgakowa
Biographic Data
| ID | 1046179 |
|---|---|
| NAME | Oksana Bulgakowa |
| GIVEN NAMES | Oksana |
| FAMILY NAME | Bulgakowa |
| SIGNATURE | BULGAKOWA O |
| AFFILIATIONS | Johannes Gutenberg University Mainz |
| ORCID | 0009-0007-1499-8624 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
The Ear against the Eye
Vertov defined the basic qualities of his Cine-Eye by means of a simple negation: it sees what remains inaccessible to the human eye. 1 This means that in his films we see media-based and media-produced images that have nothing to do with the imitation of human perception. According to Vertov, such filmic, telescopic, or microscopic perception develops, educates, and expands the viewer's analytical abilities. 2 Thus, we have on the one hand a med…
Let's Sharpen Our Optic Nerves
Sergei Eisenstein’s System Thinking
In 1932, Sergei Eisenstein started work on his key theoretical book, Grundproblem (later Method ), which would present his theoretical system. In the very first notes, he defines a goal that seems to be similar to Aleksandr Bogdanov’s tektology: to find a basic structure – an isomorph – for a work of art but also for the growth of plants and bones, for human society and the organization of bees and ants. Eisenstein’s system thinking was inspired …
Sergei Eisenstein in the Proletkult
This article examines some of the theoretical issues that exercised Sergei Eisenstein during the years 1920–1924 when he worked in the Russian Proletarian Cultural-Educational Organization (Proletkult), of which Aleksandr Bogdanov was one of the founders. We ask how far Eisenstein was influenced by Marxism in general and by the ideas of Bogdanov in particular, and explain his exit from the Proletkult in terms of the unacceptability of his theory …
Eisenstein’s ‘Cinema of the Masses’
Sciendo provides publishing services and solutions to academic and professional organizations and individual authors. We publish journals, books, conference proceedings and a variety of other publications
Moskva‐Berlin, Berlin‐Moskau, 1900–1950”
This article reconstructs and reexamines the dramatic events leading up to the “Moscow‐Berlin, 1900–1950” exhibition, jointly staged by the Berlinische Galerei and the Pushkin Museum of Fine Arts in 1995–96. Modeled upon the landmark “Moscow‐Paris” exhibit that had taken place at the Pompidou Center in 1979 and the Pushkin Museum in 1981, “Moscow‐Berlin” has been largely forgotten by time, despite the fact that it, too, was intially viewed as a b…
Automated Visual Content Analysis for Film Studies
Lots of approaches for automated video analysis have been suggested since the 1990ies, which have the potential to support quantitative and qualitative analysis in film studies. However, software solutions for the scholarly study of film that utilise video analysis algorithms are still relatively rare. In this paper, we aim to provide an overview of related work in this field, review current developments in computer vision, compare machine and hu…
Russian Film between the Old and the New
There are different forms of continuity and shifts in the Russian film after the October Revolution. On the one hand, films by Alexander Panteleev, Vladimir Gardin, and Czeslaw Sabinski adapted the new post-revolutionary reality to the established genres and narratives of the Russian prerevolutionary cinema, and the stylistic tradition of the Russian film school was continued not only between 1917 and 1924 but also afterward. The new generation o…
From stage to brain
German Dadaists, Italian and Russian Futurists and Constructivists created in their experiments multi-medial orthopedic bodies as products of collage and montage. Sergei Eisenstein, who was influenced by these experiments, organized his theatrical productions as a chain of independent fragments capable of entering any possible combination/recombination and labelled this method "montage of attractions". He used the same montage principle not only …
The "Russian Vogue" in Europe and Hollywood
From stage to brain
German Dadaists, Italian and Russian Futurists and Constructivists created in their experiments multi-medial orthopedic bodies as products of collage and montage. Sergei Eisenstein, who was influenced by these experiments, organized his theatrical productions as a chain of independent fragments capable of entering any possible combination/recombination and labelled this method "montage of attractions". He used the same montage principle not only …
The "Russian Vogue" in Europe and Hollywood
From stage to brain
German Dadaists, Italian and Russian Futurists and Constructivists created in their experiments multi-medial orthopedic bodies as products of collage and montage. Sergei Eisenstein, who was influenced by these experiments, organized his theatrical productions as a chain of independent fragments capable of entering any possible combination/recombination and labelled this method "montage of attractions". He used the same montage principle not only …
Russian Film between the Old and the New
There are different forms of continuity and shifts in the Russian film after the October Revolution. On the one hand, films by Alexander Panteleev, Vladimir Gardin, and Czeslaw Sabinski adapted the new post-revolutionary reality to the established genres and narratives of the Russian prerevolutionary cinema, and the stylistic tradition of the Russian film school was continued not only between 1917 and 1924 but also afterward. The new generation o…
Automated Visual Content Analysis for Film Studies
Lots of approaches for automated video analysis have been suggested since the 1990ies, which have the potential to support quantitative and qualitative analysis in film studies. However, software solutions for the scholarly study of film that utilise video analysis algorithms are still relatively rare. In this paper, we aim to provide an overview of related work in this field, review current developments in computer vision, compare machine and hu…
Sergei Eisenstein’s System Thinking
In 1932, Sergei Eisenstein started work on his key theoretical book, Grundproblem (later Method ), which would present his theoretical system. In the very first notes, he defines a goal that seems to be similar to Aleksandr Bogdanov’s tektology: to find a basic structure – an isomorph – for a work of art but also for the growth of plants and bones, for human society and the organization of bees and ants. Eisenstein’s system thinking was inspired …
Sergei Eisenstein in the Proletkult
This article examines some of the theoretical issues that exercised Sergei Eisenstein during the years 1920–1924 when he worked in the Russian Proletarian Cultural-Educational Organization (Proletkult), of which Aleksandr Bogdanov was one of the founders. We ask how far Eisenstein was influenced by Marxism in general and by the ideas of Bogdanov in particular, and explain his exit from the Proletkult in terms of the unacceptability of his theory …
Eisenstein’s ‘Cinema of the Masses’
Sciendo provides publishing services and solutions to academic and professional organizations and individual authors. We publish journals, books, conference proceedings and a variety of other publications
Moskva‐Berlin, Berlin‐Moskau, 1900–1950”
This article reconstructs and reexamines the dramatic events leading up to the “Moscow‐Berlin, 1900–1950” exhibition, jointly staged by the Berlinische Galerei and the Pushkin Museum of Fine Arts in 1995–96. Modeled upon the landmark “Moscow‐Paris” exhibit that had taken place at the Pompidou Center in 1979 and the Pushkin Museum in 1981, “Moscow‐Berlin” has been largely forgotten by time, despite the fact that it, too, was intially viewed as a b…
Let's Sharpen Our Optic Nerves
The Ear against the Eye
Vertov defined the basic qualities of his Cine-Eye by means of a simple negation: it sees what remains inaccessible to the human eye. 1 This means that in his films we see media-based and media-produced images that have nothing to do with the imitation of human perception. According to Vertov, such filmic, telescopic, or microscopic perception develops, educates, and expands the viewer's analytical abilities. 2 Thus, we have on the one hand a med…
Art (6 works) · Literature (4 works) · Aesthetics (3 works) · History (3 works) · Law (3 works) · Movie theater (3 works) · Political science (3 works) · Politics (3 works) · Sociology (3 works) · Art history (2 works)