Елена Барабан
Biographic Data
| ID | 5802641 |
|---|---|
| NAME | Елена Барабан |
| GIVEN NAMES | Елена |
| FAMILY NAME | Барабан |
| SIGNATURE | БАРАБАН Е |
| AFFILIATIONS | University of Manitoba |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 0 |
Jeremy Hicks, First films of the Holocaust
Jeremy Hicks, First films of the Holocaust: Soviet cinema and the genocide of the Jews, 1938–1946." Canadian Slavonic Papers, 58(1), pp. 93–94
Cathy A. Frierson, Silence Was Salvation
Cathy A. Frierson, Silence Was Salvation: child survivors of Stalin’s terror and World War II in the Soviet Union." Canadian Slavonic Papers, 58(1), pp. 106–107
Ukrainian cinema
version of War and Peace 'borrows' from Tolstoy but does not aim at 'fidelity of transformation', which Bondarchuk would accomplish.And yet, as a Hepburn/Fonda vehicle, Vidor's film enjoyed success not only in the United States but also in the Soviet Union itself.Bondarchuk's subsequent film, Waterloo, about Napoleon's final defeat, is often understood as the sequel to War and Peace.My impression is that such a 'coda' did not warrant such an exte…
Filming a Stalinist War Epic in Ukraine
The article examines the production history of Ihor Savchenko’s film Tretii udar [The Third Strike, 1948], a World War II epic and the most significant project of the Kyiv Film Studio in the first post-war years. Using the example of The Third Strike, the author demonstrates how Stalinist cinema as an institution influenced Soviet film directors’ thematic and ideological choices as well as their style. Specifically, the supervision of such projec…
Fighting Words and Images
Film Review Article
Forget the War
This article examines retroactive constructions of the images of Soviet people within post-Soviet Russian films about World War II. The author demonstrates that such images signify a break with the Soviet past rather than its nostalgic or neo-authoritarian replay. The emplotment, characterization, and style of recent films about the war relocate the projected sense of patriotism from a state- and ideologically-bound collective to individual agent…
"The Fate of a Man" by Sergei Bondarchuk and the Soviet Cinema of Trauma
Representations of the Second World War The Soviet canon of representing the Second World War as a heroic exploit of a people that had liberated Europe from fascism and defended the ideals of humanism began to crumble during the glasnost period. In post-Soviet Rus sia, the memory of the war has become inseparable from the memory of the crimes of Stalinism. A number of films that came out in 2004-2005 as part of the celebration of the sixtieth ann…
Postmodernism and the Postsocialist Condition
List of Illustrations Acknowledgments Foreword Martin Jay Introduction Ales Erjavec The Other Gaze: Russian Unofficial Art's View of the Soviet World Boris Groys Art as a Political Machine: Fragments on the Late Socialist and Postsocialist Art of Mitteleuropa and the Balkans Misko Suvakovic Neue Slowenische Kunst--New Slovenian Art: Slovenia, Yugoslavia, Self-Management, and the 1980s Ales Erjavec Hungarian Marginal Art in the Late Period of Stat…
No prominent works on this page.
Postmodernism and the Postsocialist Condition
List of Illustrations Acknowledgments Foreword Martin Jay Introduction Ales Erjavec The Other Gaze: Russian Unofficial Art's View of the Soviet World Boris Groys Art as a Political Machine: Fragments on the Late Socialist and Postsocialist Art of Mitteleuropa and the Balkans Misko Suvakovic Neue Slowenische Kunst--New Slovenian Art: Slovenia, Yugoslavia, Self-Management, and the 1980s Ales Erjavec Hungarian Marginal Art in the Late Period of Stat…
"The Fate of a Man" by Sergei Bondarchuk and the Soviet Cinema of Trauma
Representations of the Second World War The Soviet canon of representing the Second World War as a heroic exploit of a people that had liberated Europe from fascism and defended the ideals of humanism began to crumble during the glasnost period. In post-Soviet Rus sia, the memory of the war has become inseparable from the memory of the crimes of Stalinism. A number of films that came out in 2004-2005 as part of the celebration of the sixtieth ann…
Fighting Words and Images
Film Review Article
Forget the War
This article examines retroactive constructions of the images of Soviet people within post-Soviet Russian films about World War II. The author demonstrates that such images signify a break with the Soviet past rather than its nostalgic or neo-authoritarian replay. The emplotment, characterization, and style of recent films about the war relocate the projected sense of patriotism from a state- and ideologically-bound collective to individual agent…
Filming a Stalinist War Epic in Ukraine
The article examines the production history of Ihor Savchenko’s film Tretii udar [The Third Strike, 1948], a World War II epic and the most significant project of the Kyiv Film Studio in the first post-war years. Using the example of The Third Strike, the author demonstrates how Stalinist cinema as an institution influenced Soviet film directors’ thematic and ideological choices as well as their style. Specifically, the supervision of such projec…
Ukrainian cinema
version of War and Peace 'borrows' from Tolstoy but does not aim at 'fidelity of transformation', which Bondarchuk would accomplish.And yet, as a Hepburn/Fonda vehicle, Vidor's film enjoyed success not only in the United States but also in the Soviet Union itself.Bondarchuk's subsequent film, Waterloo, about Napoleon's final defeat, is often understood as the sequel to War and Peace.My impression is that such a 'coda' did not warrant such an exte…
Jeremy Hicks, First films of the Holocaust
Jeremy Hicks, First films of the Holocaust: Soviet cinema and the genocide of the Jews, 1938–1946." Canadian Slavonic Papers, 58(1), pp. 93–94
Cathy A. Frierson, Silence Was Salvation
Cathy A. Frierson, Silence Was Salvation: child survivors of Stalin’s terror and World War II in the Soviet Union." Canadian Slavonic Papers, 58(1), pp. 106–107
Art (6 works) · European history and politics (5 works) · History (5 works) · Political science (5 works) · Law (4 works) · Literature (4 works) · Philosophy (4 works) · Aesthetics (3 works) · Eastern European Communism and Reforms (3 works) · History (3 works)