Maria Belodubrovskaya
Biographic Data
| ID | 1554886 |
|---|---|
| NAME | Maria Belodubrovskaya |
| GIVEN NAMES | Maria |
| FAMILY NAME | Belodubrovskaya |
| SIGNATURE | BELODUBROVSKAYA M |
| AFFILIATIONS | University of Chicago Chicago, IL USA |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Sovetskie filmy o derevne
A True Language of Cinema
Since cinema communicates meanings through images and sounds, it has long been assumed that it possesses a language—a coded system of units and rules. Cinematic practice is infinitely varied, and it has proven difficult for film theory to pinpoint a language of cinema beyond the assertion that classical continuity codes cinematic illusion. The computational approach presented in James Cutting's Movies on Our Minds: The Evolution of Cinematic Enga…
The Master of Surprise
This article challenges the moniker “the master of suspense” as applied to Alfred Hitchcock. I show that Hitchcock's guiding principle was often not suspense but surprise. The penchant to surprise explains why Hitchcock utilized the surprise plot, as well as why he is often considered a deeply conflicted artist. In addition to standard surprise and suspense, which generate little uncertainty for the audience, Hitchcock developed parallel versions…
Abram Room,A Strict Young Man, and the 1936 Campaign against Formalism in Soviet Cinema
This article addresses the aesthetic history and banning of Abram Room'sStrogii iunosha(A strict young man, 1936) in the context of the 1936 campaign against formalism and naturalism in Soviet art. I show that the film's experimental style was not the cause of its banning and argue that the antiformalism campaign was a political rather than aesthetic event. What the campaign demanded was a shift in mode, from form centered to theme centered, and …
No prominent works on this page.
Abram Room,A Strict Young Man, and the 1936 Campaign against Formalism in Soviet Cinema
This article addresses the aesthetic history and banning of Abram Room'sStrogii iunosha(A strict young man, 1936) in the context of the 1936 campaign against formalism and naturalism in Soviet art. I show that the film's experimental style was not the cause of its banning and argue that the antiformalism campaign was a political rather than aesthetic event. What the campaign demanded was a shift in mode, from form centered to theme centered, and …
A True Language of Cinema
Since cinema communicates meanings through images and sounds, it has long been assumed that it possesses a language—a coded system of units and rules. Cinematic practice is infinitely varied, and it has proven difficult for film theory to pinpoint a language of cinema beyond the assertion that classical continuity codes cinematic illusion. The computational approach presented in James Cutting's Movies on Our Minds: The Evolution of Cinematic Enga…
The Master of Surprise
This article challenges the moniker “the master of suspense” as applied to Alfred Hitchcock. I show that Hitchcock's guiding principle was often not suspense but surprise. The penchant to surprise explains why Hitchcock utilized the surprise plot, as well as why he is often considered a deeply conflicted artist. In addition to standard surprise and suspense, which generate little uncertainty for the audience, Hitchcock developed parallel versions…
Sovetskie filmy o derevne
Art (4 works) · Aesthetics (3 works) · Philosophy (3 works) · Aesthetic Perception and Analysis (2 works) · Cinema and Media Studies (2 works) · Computer Science (2 works) · Epistemology (2 works) · Law (2 works) · Literature (2 works) · Movie theater (2 works)