Text and SAC linkage © KIMBALL FILES

 Table of Contents =
Some Films of Historical Significance
HIST 245 Russia, America and the World
Cold War Films With Points of View
Some bibliography

Videos and DVDs accessed by the KNIGHT LIBRARY are KEPT IN THE DOUGLASS ROOM on the third floor, and they may be viewed there
Time spent on these movies can be counted as part of the nine-hours-per-week out-of-class work. 

Some Thoughts on the Historical Significance of Films

We sometimes seek too simple an answer to the question, "Is this (or that) film historically accurate". Usually not. Most historical films fall very short of the standards of contemporary historical scholarship. However, accuracy is not the only thing that makes a historical source useful.

"Literature" or "fiction" can be "historical" in content or "spirit". Remember the definition of "history". Most historical films fall short of the measure implied by the word "truth". But, can we speak of "accuracy" or even "truth" in connection with "significance"?

Are Shakespeare tragedies "accurate"? If not, do they have any historical significance for the playgoer who wants to understand more about history?

Here is one thought to help navigate these problems. Remember the distinction between primary and secondary sources. Movies that take historical events as their topic are "secondary sources" with respect to the topic. They may be judged as we would judge any secondary source. Judging them this way, they usually fall very short of the mark.. However, films are also "primary sources" with respect to the culture and mentality of the time in which they are filmed and watched. Primary sources must be judged very differently than secondary.

In that connection, here is an interesting filmic effort at "filmography" [as in "historiography"] =

<>SERGEI EISENSTEIN, 1898-1948| D:Katanyan,V S:Yureneva,R (48m) 1978?| Originally released in Moscow by the Central Documentary Film Studio in 1958| A biographical documentary on the life and work of Russia’s most influential film director, with clips of his various films

Some Films of Historical Significance =

<>ANDREI RUBLEV and BORIS GODUNOV (film of the great opera) by Andrei Tarkovskii ((345))

<>ALEKSANDR NEVSKII and IVAN GROZNYI [Ivan the Terrible] by Sergei Eisenstein ((345))

<>BEGINNINGS FOLKLORE AND LEGEND [four historical Russian films. One of a ten volume video anthology produced by Gosfilmofond, Milestone Film & Video and the British Film Institute] VT2564 (40m) [cf. DISCOVERING & cf. RUSSIAN]
*1908:| "Drama in a Gypsy camp" [folklore] D=Vladimir Siversen| C=Gypsies
*1909:| "Sixteenth century Russian wedding" [after Sukhotin play] D=Vasilii Goncharov| Art dtr=Fester,V, after Makovskii,Konstantin's xdj| C=Goncharova,Aleksandra | Stepanov,Vxi | Gromov,Andrei
*1910:| "Rusalka" [based on Pushkin play] D=Vasilii Goncharov| P=Vladimir Siversen ; art director, V. Fester. C:Vasilii Stepanov, Aleksandra Goncharova
*1912:Unreleased| "Brigand Brothers" [based on Pushkin poem] D=Vasilii Goncharov| C=Arsenii Bibikov, Ivan Mozzhukhin, Vasilii Stepanov

<>1912:Vasilii Goncharov [ID], THE PEASANTS' LOT [Krest'ianskaia dolia] portrayed the hardship of rural life, and
<>1914:Evgenii Bauer's early film, SILENT WITNESSES [Nemye svideteli] dealt frankly with servants' views of their masters in a Moscow mansion [UO VIDEOTAPE]

<>1914-1918 (56m)| P.NJ:GP.FFH| ((WW1 CIV))

<>1922:1925; KINO PRAVDA | D=Dziga Vertov [ID] and his KINO-GLAZ [Kino Eye] Group | Newsreel series depicting Soviet life in the first four years of NEP [ID]| [FLM#1 | FLM#2] | FLM#3 | FLM#4 | FLM#5 ]

<>1925:STACHKA [Strike] Sergei Eisenstein’s debut film in six parts chronicles a 1912: SPB labor strike and the factory owner’s retaliation with the help of mounted police. This film was made in the famous Petrograd Putilov Factory and its barracks-like workers quarters| [FLM]
*--BATTLESHIP POTEMKIN (VT2607) D:Sergei Eisenstein 73m [GO]

<>1926:MOTHER [MAT’] | D=Vsevolod Pudovkin [after Maxim Gorky] 80m [FLM] | Difficulties of the down-and-out in the time of the 1905 Revolution

<>1927:THE END OF ST. PETERSBURG [Konets Sankt-peterburga] 85m | Vsevolod Pudovkin's film traced the life of a Russian peasant in the years prior to the 1917 revolutions [FLM]
*--OKTIABR, Sergei Eisenstein 100m| [GO]

<>1927:SSR | BED AND SOFA (VT133) | Abram Room 75m | [FLM | FLM excerpt | ditto]

<>1927:GRM | METROPOLIS [FLM] |((Visionary depiction of dystopic future))

<>1928:POTOMOK GENGIS-KHANA [The Heir to Chinggis-khan] or STORM OVER ASIA [FLM]. The opening sequences give a good feel for pre-modern Mongolia. Consider how 1920s thinking about "Eurasia" [above] are reflected in this film. Here is the section of the film that portrays when English imperialists discover that their captive is heir to Chinggis-khan

<>1929:GENERAL LINE [aka "The Old and the New"] [FLM], directed by the great Soviet film-maker Sergei Eisenstein| Early example of pre-collectivization propaganda for creation of Soviet cooperative farms and for mechanization of rural life or "abolition of the distinction between town and countryside"

<>1929:CHELOVEK S KINO-APPARATOM (vt132) [The Man with a Movie Camera] | [FLM#1 | FLM#2 | FLM#3 | Excerpt | Ditto | Ditto | Ditto | Ditto | Ditto with creative soundtrack | ]  D=Vertov 66m

<>1929:1930; ZEMLIA (VT136) | D=Aleksandr Dovzhenko 88m 1929-30 | [FLM]

<>1930:ENTUZIAZM [ENTHUSIASM] (67m) | D=Dziga Vertov | Don Basin coal miners after 4 years of the Five-Year Plan| [FLM theatrical trailer]

<>1930:All Quiet on the Western Front | [FLM]

<>1933:The Triumph of the Will [FLM] [ID]

<>1934:CHAPAEV [FLM] RussoTuristo description = Vasily Ivanovich Chapaev (1887-1919), a legendary Red Army commander, became a hero of the Russian Civil War. The plot is based on the novel of the same name by Dmitry Furmanov, a Russian writer and Bolshevik commissar who fought together with Chapayev. Immediately upon the release (on November 6, 1934 in Leningrad cinema theatre "Titan") the film became one of the most popular creations in the history of Soviet cinema. Within the first year it was watched by 30 million people in the USSR alone. It was awarded as "Best Foreign Film" by US National Board of Review in 1935 and Grand-Prix of Paris World Affair in 1937. In a 1978 poll of cinema critics the film was considered one of the best 100 films in history

<>1935:AEROGRAD [FLM] directed by Aleksandr Dovzhenko. It's a long and tiring movie, so you might prefer to hop away after part 1 =
*--Don't miss the aerial flight among the clouds, accompanied by an air force choir which harmonizes with the authoritative buzz of the airplane engine. The plane lays down a both sonorous and menacing flexible major chord, imitated later in Elem Klimov's IDI I SMOTRI [ID]
*--Also NB! this early display of a new military technology, parachutes [ID]
*--Part 4 opens with some inspiring multiculturalism (Native folk of Amur/Ussuri region near Khabarovsk and an isolated Old-Ritualist community anticipate arrival of USSR air force to protect them from invaders)
*--Part 5 presents a Japanese commander who appears among the Russian Old Ritualists and exhibits neo-Samurai behavioral traits.

<>1937:1939; PETER THE FIRST (VT480) D=Vladimir Petrov [after Alexei Tolstoy novel]. 203m ((346))

<>1939:1945; WW2 period films G/FILM FOOTAGE

<>1954:BATTLE OF ALGIERS [FLM] | ((prm lxt FLM 1954:1962; 8-year struggle of Algerians against French colonialists; FRN w/subtitles | 123m b/w))


<>1959:SUD'BA CHELOVEKA [FATE OF A MAN] Staring Sergei Bondarchuk) [FLM w/o subtitles | FLM w/Romanian subtitles!!] ((A veteran and a young orphan after WW2 TXT | TXT summary of film))

*--FLM, subtitles are provided in this pt1, but YouTube guides you to a pt2 from another download w/o subtitles. Come back here for FLM pt2 and subsequent 8 parts [FLM w/o subtitles]
*--TINI portrays traditional ways of the Gutsul or Hutsul people in the Carpathian Mt. highlands of eastern Ukraine/Belarus as interwoven, delicious, nostalgic and moody folk-tale legends, mainly about love and death
*--Wikipedia outlines the plot and James Partridge describes FLM [TXT]
*--TINI works like grand opera, except that most of the soundtrack music is voiced in folk songs, idle conversation, work chants and prayer, peasant flutes, mouth-harps, fiddles, bagpipes, signal horns and sharp thump of axes. A simple village choir celebrates the Orthodox liturgy. Cows moo, sheep bleat, horses whinny, fires crackle. Nature joins in with wind, rain, lightning, thunder, and squelching deep-winter snow. [Songs from the FLM] M.Skarik composed supplemental, Prokofiev-like orchestral riffs
*--TINI is staged with standard but moving-film-enhanced operatic aural delight. Opera on the stage can only approximate this level of exceptional visual richness [EG=pt3 at 5-minute mark | EG=pt4 at 5:30-minute mark]. Village customs are lavishly illustrated =
*--Bear hunt [EG=pt4 at the 3:20 minute mark]
*--Wedding [EG=pt6 at the 1-minute mark]
*--Work [EG=pt6 at the 6-minute mark] Notice the fingers of the right hand guiding the whetstone. listen to the scythe in the grass. That's just the way it was
*--Dual Faith [EG#1=pt7 at the 3-minute mark | EG#2=pt7 at the 8-minute mar]
*--Tavern [EG=pt8 at the 5-minute mark] [TXT on tavern]
*--Funeral [EG=pt9 at the 4-minute mark]
*1988je:MNC| Documentary on Sergei Paradzhanov (Gruziia-born, ethic Armenian director speaks in good, clear Russian [w/subtitles] | TINI featured in pt3 at the 5-minute mark)

<>1966:RUSSIA: CZAR [sic!] TO LENIN 16mm film. (30m) b/w| FLM| ((346| An impressive collection of original film footage from 1896 into the earliest days of Soviet power| Cold-War commentary))

<>1969:The Sorrow and the Pity | D:Marcel Ophüls | [FLM theatrical trailer] ((What are the thoughts and feelings of those French men and women who allied themselves -- under conditions of military defeat -- with Nazi Germany?))

<>1976:DERSU UZALA D=Akira Kurasawa 124m 1976 [FLM]. ((346| The film is set in 1902-1910, in the Ussuri and Amur River basin administered by the Russian Empire out of the city Khabarovsk. The film raises significant intellectual or "spiritual" issues about humans in nature, a philosophical "environmentalism", but it also touches on the question of intercultural relations. The surveying crew is Russian. The hunter Dersu is Nanai (he names his tribe by the older name "Goldi"). With Dersu as their guide, the surveying crew is saved in an Udege hut from starvation and, perhaps, being frozen to death. The film was made in a time of tension between the Chinese People's Republic and the USSR. We meet three different representatives of the Chinese = a tragic old hermit, a vigilante band, defenders of law and order in the Ussuri region, and a gang of bandits which the vigilantes pursue after they rape and pillage a local settlement. The film was a joint Russian-Japanese project, and the famous Japanese film maker, Akira Kurosawa, directed. One critic wrote, "Dersu Uzala is an allegory for the environmental toll of civilization, a testament to a profound, enduring friendship, and a heartbreaking portrait of aging and obsolescence" The film lasts just over two hours, and that's fine, but time might force you to stop and rewind before the film ends. In this case, I recommend you watch for about an hour and twenty or, better, an hour and forty minutes. The last 20 minutes portray the difficulties of an aging noble-savage (Dersu) trying to live in the city Khabarovsk, returning to the wilds after all, and perishing there))

<>1976:DNI TURBINYKH (Days of the Turbin Family) [FLM] Based on Mikhail Bulgakov play about White-Guard family in the time of the Russian Revolutionary Civil War

<>1978:UNFINISHED PIECE FOR PLAYER PIANO D:Nikita Mikhalkov [after Anton Chekhov] (115m)| [FLM] ((346| What can I say? While a mite maudlin, this is a fabulously touching account of daily-life experiences of a seemingly impotent and self-consciously doomed intelligentsia elite on the eve of revolution))

<>1979:STALKER (163m) [FLM#1 | FLM#2] | D=Andrei Tarkovskii| ((Website description of this moody but endlessly gabby Euro-existentialist film = Near a gray and unnamed city is the Zone, an alien place guarded by barbed wire and soldiers. Over his wife's numerous objections, a man rises in the dead of night: he's a stalker, one of a handful who have the mental gifts (and who risk imprisonment) to lead people into the Zone to the Room, a place where one's secret hopes come true. That night, he takes two people into the Zone: a popular writer who is burned out, cynical, and questioning his genius; and a quiet scientist more concerned about his knapsack than the journey. In the deserted Zone, the approach to the Room must be indirect. As they draw near, the rules seem to change and the stalker faces a crisis))

<>1980:RUSSIAN [Ukrainian, Central Asian (Uzbek), Siberian (Omsk) & Moldavian] FOLK SONG & DANCE 70m | This video represents Soviet-style hokum, reflecting what happens when authentic folk creativity is kidnapped by power elites or pop-arts profiteers, much as when Lawrence Welke's orchestra does Polkas or the Norman Luboff Choir sings "Ole Man ribba". Watch the Omsk choir and try to imagine an actual remote village
*--About mid point in the tape, however, a not-half-bad historical account is given of the origins of a fine folk ensemble =
*1910s+:Piatnitskii folk ensemble | Here we can enjoy some decent simulations of peasant wedding ceremony

<>1981:PROSHCHANIE (160m) [ID] | Based on Valentin Rasputin's nostalgic but biting story about life in the Siberian countryside under conditions of Soviet "modernization"

<>1983:VASSA | Gleb Panfilov directed this film adaptation of Maksim Gorky's bitter tale of a manipulative "bourgeois" woman, treating family like she treated laborers in her factories

<>1985:COME AND SEE [Idi i Smotri] FLM part one (1:03:48) FLM part two (1:12:48) | D=Elem Klimov | ((Notice major-chord drone of airplane as motif, possibly in imitation of AEROGRAD [ID]))

<>1985:Brazil| The mean side of techno-idiocy | The fantasy-soaked escapism of the main hero [FLM]

<>1991:URGA (Close to Eden) (109m) | FLM (1:53:59) | D=Nikita Mikhalkov | I had never seen a Mongol shepherd butcher a sheep before I saw this film. The theme is culture clash: contemporary Russian truck driver and traditional Mongol family interact against the beauty of the Mongol highlands and on the border with Chinese civilization. It is a film about identity in a changing world

<>2002:RUSSIAN ARK| ((Jeremi Szaniawski, The Cinema of Alexander Sokurov: Figures of Paradox))

<>2007:MONGOL (2:05:40)| D=Sergei Bodrov | FLM#1 | FLM#2 | FLM#3 | FLM#3 | ((345| As much as anything, the film is about family, especially the central nuclear family = husband and wife | The appearance of Tengri as a wolf at the magic mountain (27:10) is the beginning of the foundational myth embodied in the Great Yasa [ID] | BBC produced a documentary on Chinggis-khan available on YouTube))

<>AGONIIA [Agony] [TXT] [YouTube] (110m)
*--D:Klimov,Elem | S:Lungin,Semen & Nusinov,Ilya | P:Kalashnikov,Leonid | M:Shnitke,Alfred (conductor, Eri Klas) C:Petrenko,Aleksei | Romashin,Anatolii | Line,Velta | Freindlikh,Alise| ((346|
*--The controversy over Rasputin's influence on the tsar is portrayed through a combination of modern drama and historical film footage))


<>DISCOVERING RUSSIAN FOLK MUSIC (VT1534) 22m 1975 [cf. FOLKLORE] This is a very authentic feeling presentation by a UCLA fold music group, though not all performances presented here are by musicologists.  Look for UO's own music professor Mark Levy.   The first ten minutes or so establish the ties between the music of the Russian village and the elaborate, polyphonic liturgy of the Russian Orthodox Church

|>THE FALL OF THE ROMANOV DYNASTY| Shub,Esther,Director| ((86wi:bbt.rqt| RREV2 346))

<>GLASNOST FILM FESTIVAL: A [12-tape] Project of the Citizen Exchange Council (VT2129) 1986-89|A videotape collection representing the first Soviet documentaries released during the Glasnost era. In Russian and Soviet languages with English subtitles
Tape 1:
--| “Against the Current”. Kirishi residents ptx ecological crimes of a major synthetic protein plant (27m)| ((dsn))
--| “The Wood Goblin”. Local Communist Party chf was fired after a smear campaign. After living alone in the woods for 15 years, he joined a group to ptx woodcutting (19m)| ((dsn))
Tape 2
--| “The Temple”. 1000year anniversary of Christianity in Russia. Renewed vigor of the Russian Orthodox church. Interviews with mnk~, priests and worshippers (59m) ((Xtx))
Tape 3
--| “The Tailor”. A generation of adults disillusioned by withering effects of post-Stalin spiritual void (50m)
--| “Early on a Sunday”. In a wintry forest, elderly village women gather wood, talk and laugh, and exhibit patience and dignity in their work (16m)
Tape 4
--| “Chernobyl: Chronicle of Difficult Weeks”|1986:Beginning directly after meltdown of the nuclear power plant, a film crew worked for more than three months to record the disaster (54m)
--| “The BAM Zone: Permanent Residents” Baikal-Amur Mainline Railroad in Siberia, the longest monument to the stagnation of the Brezhnev years. Behind marches and songs praising the project, equipment was breaking down, and lives were destroyed (19m)
Tape 5
--| “Scenes at a Fountain”. For over a year on the CSP.S shore, nrg.g fire spewed powerful 600-foot high column. Courageous workers risked their lives to cap the blaze (28m)
--| “The Limit”. Devastating effects of alcoholism (15m)| ((alxism))
Tape 6
--| “And the Past Seems But a Dream”. 1937:Children wrote an idealistic book called ‘We are from Igarka’. At a reunion 50 years later, these same people tell a different story (67m)
--| “Theater Square” 1988je01:Yerevan’s historical Theater Square| hng.zbx Hunger strike over disputed Nagorno-Karabakh, a region populated mainly by ARM~ but located in AZR (26m)
Tape 7
--| “Black Square”. 1950s:1970s; Russia’s artistic avant-garde. Works smashed by bulldozer, flooded with acid or covered by concrete. Recent exhibition of underground art with profiles of creators (57m)
--| “Dialogues”. Leningrad palace, abandoned, becomes site of rock and jazz bacchanal. Collective singing, dancing and playing creates a community, not just a crowd (29m)
Tape 8
--| “This is How We Live”. Alienation of many Soviet young people. Homegrown fascists happily d.scr their program of social reconstruction through sterilization. (30m)
--| “Homecoming”. Afghan War vets returning home with unresolved feelings about a demrlizing and unpopular war (17m)
Tape 9
--| “Marshall Blucher: A Portrait against the Background of an Epoch”|1938:Vasilii Blucher was one of the best Red Army commanders, yet perished in Stalin’s torture chambers (70m)
Tape 10
--| “The Trial”. After quiet past, civil society awakens on city squares, in auditoriums, on theatre stages and in museums (55m) [cvc.pbl grd ttx mzm]
--| “Adonis XIV”. Its horns ornamented with little bells, a ‘Judas’ goat serenely leads a herd of animals to the slaughterhouse in this allegorical film, banned for years by Soviet censors (9m)
Tape 11
--| “Final Verdict”. Over twenty months on death row, a young student responsible for a senseless killing discovers he’s not the same person he once was. (66m)
--| “The Evening Sacrifice”. The spirit of a crowd situation captured by a candid camera (18m)
Tape 12
--| “Are You Going to the Ball?” takes an unprecedented look the Soviet Union’s famous women’s gymnastics team. Questions the price young athletes pay for fleeting celebrity (29m)
--| “Tomorrow is a Holiday”. With indifferent movements, women workers stuff live chickens into metal containers. The camera observes similarities among [dth.xers] ‘executioners’ and ‘victims’: worker’s dorms are utilitarian, like containers for the people (19m)

<>GORBACHEV AND THE FALL OF THE SOVIET UNION [videorecording] PUBLISHER Princeton, NJ : Films for the Humanities and Sciences, c1996. DESCRIPTION 1 videocassette (58 min.) : sd., col. ; 1/2 in. This program profiles Gorbachev's life, from his rise within the Communist Party to his role in the fall of the Soviet Union. Includes Glasnost and Perestroika, the effects of reforms in Eastern Europe and German reunification, and regional unrest within the Soviet Union. MEDIA SVC VIDEOTAPE 03444

<>HISTORY OF ORTHODOX CHRISTIANITY (VT2174) ((345| Especially parts 2 (29m) and 3 (29m) ))

<>KRASOTA SPASET MIR (Beauty will save the world) (VT2178) 56m 1992|This documentary examines Russian Orthodoxy and the Russian state from Byzantine to modern times. It includes many historical clips from the period of Stalin and shows examples of iconography which survives in chx~, mnk.tUt~ and mzm~

<>MARINA TSVETAYEVA: A DRAMA-DOCUMENTARY| D:Bernard,Veronique 56m| A “docu-drama” with archival footage of the times and places that provided the backdrop of the great poet’s life, readings from her works in Russian and English, some dramatized scenes, and interviews with key writers, biographers, and translators of her work

<>1969:NEST OF GENTRY [aka = Nest of Gentlefolk] (VT282) D:A. Mikhalkov [after Ivan Turgenev story] 109m 1969

<>Night and Fog | ((The meaning of Nazi policies of extermination))

<>OBLOMOV (VT232) D:Mikhalkov [after Goncharov novel] 145m 1980


<>POLAND: 100 YEARS…. [history to 1572] () 50m


Tape 1
--| “Red Hot”. Survivors of the Armenian earthquake. Angry workers in a Yaroslavl engine factory interviewed. Chernobyl. Bloody unrest among the Mhesks in Uzbekistan (51m)
Tape 2
--| “Awakening”. Resistance to the Soviet Communist Party. Andrei Sakharov interviewed frankly about his hopes and fears for his country. Reemergence of Christianity. Movement for ntn.rgt~ in the Nagorno-Karabakh region. Violent demonstrations in Riga, Latvia (52m) ((dsn Xtx))
Tape 3
--| “Do You Hear Us?” Young veterans of the Afghan War d.scr difficult life on the front line. Glasnost spawns nonconformist groups, Latvian hippies, literary admirers of controversial novelist BgkMA, and the sinister ‘Pamyat’ movement. (52m)
Tape 4
--| “The Wall”|Despite recent changes, the wall of bureaucracy still surrounds many aspects of life in the Soviet Union. Self-immolation of Uzbek women accused of not being virgins at the time of marriage. Near St. Petersburg, town campaigns against a local factory emitting noxious fumes and is frustrated. Boris Yeltsin interviewed about his fight to be recognized and government resistance to his outspoken criticism (53m)
Tape 5
--| “Face to Face”. Latvian People’s Front, with interview with revolutionary leader Valdis Turins taped shortly before he left the country for his own safety. 1988:Nagorno-Karabakh massacres involving Armenians and Azerbaijanis. The series concludes with demonstrations, strikes, and riots as people take politics into their own hands (53m)

<>TIKHII DON (And Quiet Flows the Don)| D:Gerasimov,Sergei (240m) ((346| Based on Mikhail Sholokhov's historical novel about the effect of World War One and the 1917 revolutions on a Don Cossack community; a portrait of a rural community caught up in cataclysmic events, 1913-1918
--|FLM part one (1:43:57)
--|FLM part two (1:50:11)
--|FLM part 3 (1:56:28) -- ca. 5 1/2 hours in all]
*--FLM lecture on Sholokhov's claim to be the author of Tikhii Don


<>TRI PESNI O LENINE [Three songs about Lenin] (VT2418) D:Vertov,Dzig M:Shaporin,Y 1934
<>Vladimir Ilyich Lenin(13m)|P.NJ:GP.FFH| (())

<>WARD SIX (VT1079) D:Pintilie,Lucian [after Chekhov] 93m 1976



HIST 245

>General Line

<>1936:The Plow that broke the Plains, written and directed by Pare Lorentz [FLM]. Funded by USA New Deal administration| Propaganda for soil conservation, or maybe also against mechanization, an exposé of "the machine in the garden"

<>1941oc:1942ja; Razgrom nemetskikh voisk pod Moskvoi [FLM] ((SSR documentary film))

<>1949:MosFilm|>Padenie Berlina [Fall of Berlin] [FLM]

<>1979:HEARTLAND| ((lxt FLM R&A5.frn skz))

<>2008: STILIAGI (Hipsters). D= Valerii Todorovskii| ((rvw.TXT))


Cold-War Films with Points of View

*--World Socialist website on anti-Communism in the film industry
*--Blog on anti-Communist movies
*--Website on movies and Communism
*--Cold War Propaganda Montage [USA anti-communism] [FLM]
*--Cold War Propaganda montage, USA & Soviet [FLM]

1930s:1950s; Posters glorifying Stalin [FLM]

<>1933:BLACK AND WHITE [FLM] (1:29) ((Great US base Paul Robeson sings "Sometimes I Feel Like a Motherless Child" as sound track | *2006c:Jove released a 4-DVD set called Animated Soviet Propaganda, 4 dozen "propaganda" shorts produced by Soviet government agency Soyuzdetmultfilm, 1924-1984))


<>1941no07:Stalin speech from balcony of Lenin's Tomb greeting the nation. Parading military marched directly to the front on the very outskirts of Moscow [FLM]

<>1945fa: THE STORY OF A NEWSPAPER [FLM] ((Post-WW2 newspaper strike))

<>1946:DESPOTISM [FLM], with Harold Lasswell [ID]

<>1947:USA Newsreel-like film created by American Legion, visits "fine shopping centers" that are threatened by Communism [FLM]


<>1948:GOING PLACES (8:33) [FLM]| ((Cold War cartoon defending the profit motive against anti-capitalist critics))

<>1948:MAKE MINE FREEDOM (9:30) [FLM]| ((This Cold War-era cartoon uses humor to tout the dangers of Communism and the benefits of capitalism))

<>1949:CHUZHOI GOLOS [Someone else's voice] [FLM] ((Soviet cartoon vs.USA cultural imperialism, influence of jazz or in general US pop-arts | Main accent is on Magpie returning from abroad with all the latest from "The West" | Compare treatment of anti-jazz issue in the WB cartoon of the same era = FLM))

<>1949:Why Play Leap Frog? (9:39)| ((Cold War-era cartoon aimed at convincing workers that increased productivity brings about greater purchasing power))

<>1949:Meet King Joe (9:26)| ((Cold War cartoon aimed at American workers with the objective of convincing them of their good fortune))

<>1950:In Our Hands, Part 1: How We Got What We Have [FLM] (20:28) | See below
In Our Hands, Part 2: What We Have [FLM] (13:53)
In Our Hands, Part 3: How To Lose What We Have [FLM] (11:48)
In Our Hands, Part 4: How to Keep What We Have [FLM] (11:07)| ((How a limited government and private control over labor, resources and tools can stave off a Communist takeover of the U.S.))

<>1950:USA| IN OUR HANDS, pt3, "How to Lose What We Have" | (("cold-war" film = vs.Communism, pro-capitalism | A viewer's comments and resume of the film = Ken Smith sez: Part 3 of this series is its topper, a kind of capitalist's Red Nightmare. It opens as the narrator tells us, "Let's see what we'd have to change to be SURE TO LOSE what we have."

We see average Americans Tom and Midge watching a presidential debate on TV (this is the future, of course). "We've already amended the Constitution dozens of times," smirks the portly, obviously evil candidate. "Let's throw it away for a Master Plan run by a Master State!" The thinner, tousle-haired good-guy candidate is appalled. "We have free choice!" he cries. "We're free to try and make a profit!" The sneaky, well-fed fellow traveler, however, promises "full employment and full security" and adds, "We're already on our way. We've partly socialized incomes. We're going ahead and socialize property, too!" "But what price freedom?" cries the good candidate. "You can have full employment and full security -- in a penitentiary! Government can't control everything without controlling ME!"

Tom and Midge's friends fall like a ton of Red bricks for the soothing Commie line. "I'm tired of being kicked around!" says one. "I think it sounds wonderful!" adds another. "Full security! Why SHOULDN'T the government take care of us?" Tom and Midge, well-intentioned, misinformed fools that they are, hesitently agree.

Now comes the montage of screaming headlines: MASTER PLAN WINS, BANK ACCOUNTS FROZEN, MARKETS SUSPENDED, LABOR FORCE TO BE REDISTRIBUTED. Tom and Midge quickly discover the error of their ways, as a man wearing a bow tie and a Good Humor Man's cap shows up at their front door -- to kick them out of their house and forcibly relocate them to another part of the country! "But I LIKE my job!" Tom protests. "Sorry," smirks a government agent in a large, evil hat. "It's part of The Plan. You VOTED for it."

Tom and Midge -- who is cradling their baby (the baby always appears at key moments of angst in this series) -- are hauled away in the back of an open truck with only the few belongings they're allowed. "How far does The Plan go?" Tom plaintively asks the driver. "All the way, mister. All the way."

How can we avoid the horrible fate of Tom and Midge? The narrator reminds us that, "We all want to live in a better world. We all want to have MORE!" but that "Where government is not limited, NO man is free!" (shots of Red Square and Stalin let us know what he means). Human greed is nicely recast as "incentives and opportunites" and we're told that "Nobody in his or her right mind would willing sacrifice FREEDOM for the iron discipline of a regimented state. In a free economy, we are all each others' customers!"

As America The Beautiful plays underneath and we're treated to shots of cloverleaf interchanges, pie-eating contests and the Statue of Liberty, the narrator concludes: "We're better clothed, we're more comfortable, we're further from starvation...We're FAR better off than the rest of the world!"

Man speaking as if on a soapbox to crowd -- Anti-communism Capitalism Free enterprise Politics Economics Horror stories Relocation (forced) election debate television future TV Danger Lurks Safety

Now that we have seen what we have in the United States, let's talk about how to lose it. Just what would we have to change to be sure to lose what we have? [homes houses driveways windows]

Suppose this is the night before a national election. Suppose you sat in this room, and saw and heard this: "Let me sum it up this way. You are going to vote tomorrow in the election, which will do one of two things. Keep our limited government with its constitutional freedoms, rights, and responsibilities, or change them for unlimited government and a planned economy." [families watching television men women announcers panels]

"We've already amended the constitution dozens of times. Let's throw it away for a master plan run by a master state." "Would you care to reply to that?" "I certainly would."

At this time there are some ten million work places in the United States. Ten million places where we're free to make ten million plans. We're free to try any new idea, new product, new service, new anything. But we're all human beings. We can't all be right. But we have free choice. [sets United States maps lights backdrops capitalism free enterprise freedom laissez-faire economics]

We're free to try, to make a profit, to just get by, or to fail. Some of us do fail every day. But enough of us succeed so that every generation we double our production of goods and services.

Under a master plan, there would only be one plan. With just one plan there wouldn't be any room for a mistake. If anything went wrong with a master plan, the result would be a national disaster, and every man, woman, and child would suffer for it." "Wait a minute. Wait a minute. We know all we need to know about how to produce things. What we don't seem to know anything about is distribution.

We haven't solved such things as full employment, real security, from each according to his ability and to each according to his need." "Sure that sounds good, but how are you going to do it?" "We're already on our way. We've partly socialized incomes, we're going ahead and socialize property too. Let the people own the means of production, transportation, and communication. Let the people have full employment and full security." [socialism communism planning communists socialists]

"But what price freedom? You talk about full security, full employment. Why, you can have that in the penitentiary. I'm here tonight because I believe in the right of an individual to be able to choose the kind of job he wants with a company he wants to work for, in the part of our country he wants to live in. Yes sir, freedom of choice right down to the brand of cigarettes he smokes - or doesn't smoke.

Government can't control everything without controlling me - what I can say and what I can't say. And I mean police control that tells me where I'll work, where I'll live, and all the rest of it." "Just words. The people know what they want."

Vote against the old, ruthless, sick American economy with its private property and its so-called free, competitive enterprise. Vote for the master state with the master plan." "Our time is almost up. But tomorrow you'll be able to vote to keep what we have or to change for a total economy where everything will be run according to a master plan - for or against the master state under the master plan. Thank you and good night."

"Well, what do you think?" "I'm for it. I'm tired of being kicked around." "I think it sounds wonderful." "He said it would mean full employment. That's something." "Just think what that means." "Full security. Why shouldn't the government take care of us?" "I'm afraid I don't understand it very well." "Well, the way I get it, everything'll be planned. And the whole country will run according to the plan." "What's wrong with that? They talk about free enterprise, private enterprise, I'm sick of listening to 'em. I'm going to vote for it." "Well I am, that's for sure." "I guess I will too."

"Here's good news. Workers in some mass production industries are about to be quickly moved to new locations so that under the master plan the right man will be at the right job at the right time." [Master plan wins. Claim end of business cycles. All bank accounts frozen. Markets suspended under plan. Insurance companies taken over. Labor force to be redistributed. First five year plan. newspaper headlines announcers scripts radios microphones propaganda smiles smiling]

"Here we are." "It's a nice home, Bob." "Yes, but I wonder how they're gonna take it." [Master State. Truck No. 58003 pickup trucks pick-up trucks relocation drivers]

"Hi. This your house?" "Yeah." "Here. Two families are going to live here. You're being transferred. See - it's all right here." "What do you mean? I'm not looking for another job." "Well how should I know? Don't yap at me, brother." "I don't get it." "So, you don't get it." "Ah, good morning." "Ask him, he's the party man." [orders hats]

"Hey what is this?" "Well, this is correct." "Look. I like it here. I don't want another job." "Well, it may seem a little rough at first, but in the long run it will be better for everybody." "But -" "When the truck is unloaded you can take your personal things and we'll move you and your family."

"I live here. I work here!" "Yes, I know, but that plant's been closed, temporarily." "It has? You mean I've got to drive to another state, right now?" "Tom, what's that man - what's going on here? Move?" [forced relocation forcible relocation displacement moving]

"Haven't I got anything to say about this?" "Well, what do you want to say?" "Well, I've got some right." "Of course you have. Okay, come on folks. We need your house for two families now, and they'll use your car, too." "What?" "You better start now to get your things together. Okay, folks - inside."

"Oh Tom." "Now, now, now, don't be worried. You'll only be out of employment for a day or two." "Wait a minute! You can't do this to me."

Government can't control everything without controlling me - what I can say and what I can't say. And I mean police control that tells me where I'll work, where I'll live, and all the rest of it. "We worked so hard. Now we've lost our house, our car. I didn't even get a chance to finish new curtains for the kitchen. Tom, what's happening to us?" "They say we'll get government certificates for all private property." "Can't we go to court? Or go to somebody?"

"Say, how far does this go?" "About three hundred miles." "No. I mean this plan." "Oh, the plan. All the way. Everything's going to be better under the plan." "Yeah?"

"Don't be like that. You're going to like it. See?" "Sure. I'm going to like it." "Could I ask a question?" "Sure. Why not?" "Our baby, she's never been baptized, does that mean that -" [anti-religion atheism]

"Look. I'm not a full party member. I'm just driving this truck. I don't know what they gonna do about churches and stuff like that. But you better button your lip. Just remember it's all part of the plan.

What are you yapping about? You voted for it." Of course it would never happen this way. Real freedoms are eaten up a little at a time while government controls are slipped on, while the real power is collected into a few hands. Where government is not limited, no man is free.

Change limited government to unlimited government and our rights would be only what the master planners say they are. No longer the servant of the people, government would be the master of the people. [Washington, D.C. U.S. Capitol building wipes Red Square Moscow, Russia Soviet Union Russians Josef Stalin Joseph Stalin demonstrations May Day parades soldiers salutes Communism Communists rifles bayonets]

That's the way to change what we have. Take all power and all freedoms away from the people and collect everything into the hands of one small group with absolute power. [United States animation animated maps lights]

But - and think about this - we would have the same manpower, the same brains and muscles we had before, but without our present incentives and opportunities, and that would change something else. [industry factories workers crowds masses American flags]

Tools always come from savings. Government has nothing it does not take away from the people. With unlimited government, whether they wanted to or not, force would have to be used to take away our savings, just to get the tools they must have to carry on production. [steam shovels mining extraction digging capital earthmoving dirt dump trucks dumptrucks Danger Stop, Look Listen ore factories gondola cars railroad freight cars ladle iron steelmaking molten metals steel mills sparks]

It's the difference between force and freedom. Nobody in his or her right mind would willingly sacrifice freedom for the iron discipline of a regimented state. [steel workers steelworkers steel mills rolling mills pig iron pigs]

It can't allow individual freedom such as our free choice as customers. In a free economy we are all each other's customers. [women housewives consumers pots pans cooking ware stores refrigerators shopping consumerism streets sidewalks crowds people shopping]

Every farmer and rancher is free to farm or not to farm, free to work for himself or for somebody else. Free to save and buy his own land, his own seed, to invest in more and better tools, free to sell what he produces for a profit or a loss. [cows herds dairy cattle farming agriculture farmers]

Every worker in this country has the right to live and worship and work as he chooses. It's as simple and fundamental as the right of workers to work and to bargain for their wages and working conditions, the right of management workers to manage, savers to invest, and the right of all of us freely to buy and sell. [assembly lines workers assemblers auto workers automobiles engines presses flywheels machines machinery managers banks Elmville National Bank brass plaques signs]

All this is part of what we have. Freedom for all is the key. We'll take up more of our great problems later. When you look around and think about what we have, don't forget for a moment that we do have more individual freedom. We're better clothed, we're more comfortable, we're further from starvation than the whip of the police state. [workers factories industry masses aerials highways Chicago cities New York West Side Highway 79th Street Boat Basin automobiles cars crowds streets sidewalks pedestrians pie-eating contests boys stunts grotesque oddities eating]

We're far better off than the rest of the world. We have our great men and women - and we have some flannel-mouthed fools, too. We all want to live in a better world. We all want to have more. But there's no mystery about what we have or how to lose it. [atlas New York street speakers stump speakers rabblerousers rabble rousers soapboxes children Rockefeller Center sculpture St. Patrick's Cathedral lakes park benches leisure recreation]

Let's look straight into this one. Let's talk about how to lose what we have, and what that would mean to you. [Let's talk about how to lose what we have . . . Statue of Liberty]


"Now that we have seen what we have in the United States [in parts 1 and 2 of series], let's talk about how to lose it. Just what would we have to change to be sure to lose what we have. Suppose this is the night before a national election. Suppose you sat in this room and saw and heard this.[on television].

TV announcer: "You are going to vote tomorrow in an election which will do one of two things, keep our limited government with its constitutional freedoms, rights and responsibilities. Or change them for unlimited government and a planned economy."

Panel discussion follows of what it would mean if the U.S. government and economy were centralized and nationalized.

Man argues for throwing away the Constitution.

"But what price freedom, you talk about full security, full employment, why you can have that in a penitentiary. I'm here tonight because I believe in the right of an individual to be able to choose the kind of job he wants, the company he wants to work for and the part of the country he wants to live in. Yes sir, freedom of choice right down to the brand of cigarettes he smokes or doesn't smoke."

Family is thrown out of their house and relocated as part of the master plan.

Footage: Joseph Stalin; American workers streaming into plant; earth moving equipment; "with unlimited government, whether they wanted to or not, force would have to be used to take away our savings, just to get the tools they [central gov't] must have to carry on production; it's the difference between force and freedom. Nobody in his or her right mind would willingly sacrifice freedom for the iron discipline of a regimented state. It can't allow individual freedom such as our free choice as customers. In a free economy, we are all each others customers."

Cows herding; city street scenes; pie eating contest. Statue of Liberty

"every worker in this country has the right to live and worship and work as he chooses. It's as simple and fundamental as the right of workers to work and to bargain for their wages and working conditions. The right of management workers to manage, savers to invest, and the right of all of us freely to buy and sell."

<>1951:Secure the Blessings (23:44)| ((Shows how American school children are taught the value of democracy, freedom and good citizenship))

<>1951:Starting Now (Are You Ready for Service? No. 4 The Draft) (10:40)| ((High school students anticipate and prepare for the military draft))

<>1952:COMMUNISM [FLM] (10:18)| ((Educational film on the Cold War conflict))

<>1954:IT'S EVERYBODY'S BUSINESS, pt1 [FLM] pt2 [FLM] (19:53)| ((Corporate Cold War-era cartoon linking Bill of Rights to free-enterprise ideology | Compare cartoon automation in minute 9 or pt1 with opening scenes of METROPOLIS | Also note pt. beginning with minute 4 = War and threat of war are the enemy of the US prosperty | Then in minute 5 the vital services provided through taxes are summarized, including serious defense budget | Minute 7 = We are all glad to pay taxes, but we must prevent taxes from growing too high | How do you explain the emphasis of "the right to work"?))


<>1955:THE MAGIC BOND (Robert Altman)

<>1955:THE RESPONSIBILITIES OF AMERICAN CITIZENSHIP [FLM] (10:29)| ((Professor Clifton L. Ganus of Harding College, Searcy, Arkansas, lectures about American values threatened by socialism (conflated casually with Communism here). "Fifth-columnists among us" conspire to destroy "the material blessings" bestowed by USA business | USA not a democracy, it is a republic. After brief description of political system, the central issues of US capitalist economy is put in place = private property, profit motive and open competitive market where "consumer is king" | Must also know "godless communism" and its drive to rule the world, but also look out for socialism | Protect against socialist and communist propaganda | Take interest in schools and colleges, and support teachers | Become active in government; be "constantly vocal" on issues of public concern | Don't forget religion | Do some of this every day))

<>1955:Why Kill the Goose: The Profit System (11:17)| ((Prof. Ganus (above) sings the praises of the American profit system, arguing that profits, although much smaller than generally believed, make possible a continuing stream of technological advances and new and better products which contribute to the rising living standards))

<>1955:The Secret of American Production (13:00)| ((Free-enterprise-oriented lecture on the successes of the American economic system.))

<>1955:A Look at Capitalism (13:07)| ((Economic lecture on the merits and workings of capitalism. With Prof. Clifton L. Ganus of Harding College, Searcy, Arkansas))
America's Distribution of Wealth (11:48)| ((Demonstrates the widespread ownership of America's basic wealth and the equitable distribution of national income. With Prof. Clifton L. Ganus of Harding College, Searcy, Arkansas))

<>1955:Story of Enterprise (12:30)| ((How a young couple parlays their frozen custard booth into a multimillion dollar business and constructs a parable of capitalist economics. With Prof. Clifton L. Ganus of Harding College, Searcy, Arkansas))

<>1957:A Welcome Guest in the House (23:39)| ((Tribute to television as servant of the public in the Cold War era))

<>1961:The Challenge of Ideas (Parts 1 and 2)| ((John Wayne, Edward R. Murrow and others discuss the ideological battle between USA and USSR))

<>1962:The War We Are In: Communism vs. Capitalism (23:23)| ((Lecture given by Dr. George S. Benson, President of Harding College in Searcy, Arkansas))

<>1962:China Under Communism (20:48)| ((Foreign correspondent John Stroehm conducts a tour through the People's Republic of China))

<>1964:Red Chinese Battle Plan (25:15)| ((Cold War-era anti-Chinese propaganda film featuring footage of revolutionary activities and combat, 1921-64))




<>1972: BRINK of DISASTER (parts 1 and 2) [FLM] and TRAGEDY OR HOPE [FLM] ((Two films designed to show that the USA anti-war dissent movement had lost its way. 1960s activism 'threatens' American moral, religious and ethical principles. Second title educates 1960s campus protesters about "what's right with America".))

<>1976:VOINA OKONCHENA, BORBA PRODOLZHAETSIA (THE HOT RED WAR) 55m|Soviet documentary, filmed within a year of the Communist victory and the reunification of Vietnam in 1975. Includes visit to the South Vietnamese prison on Poulo Condore (Con Son) Island and interviews with former prisoners and Viet Cong cadres, but focuses on government reconstruction and “re-education” efforts. These include re-education of former South Vietnamese soldiers, recycling war material, rejuvenating Saigon port, cracking down on black markets and profiteering, and re-education of street children and war orphans


<>2007:Cold War [videorecording] / a Jeremy Isaacs production for Turner

<>FROM TSAR TO STALIN (VT363) 93m [nd]

|>Second World War(30m)|P.NJ:GP.FFH| ((WW2 CIV))

|>Cuban Missile Crisis:1962(20m)|P.NJ:GP.FFH| ((SSR MPR CWX CUBA R&A5.CWX))

<>1998:Prague spring 1968: A national security archive documents reader [DB2215 .P72 1998]. Compiled and edited by Jaromir Navratil, chief editor ; Anton{226}in Bencik ... [et al.] members and associates of the former Czechoslovak Government Commission for Analysis of the events of 1967-1970 ; translation by Mark Kramer, Joy Moss, Ruth Tosek ; headnotes and additional documents provided by Mark Kramer ; editorial coordination by Malcolm Byrne, Peter Kornbluh. New York : Central European University Press, 1998

|>Czechoslovakia 1968(20m)|P.NJ:GP.FFH| ((SSR MPR CWX CZC CIV RUS3))

<>1968:PRAGUE SPRING [videorecording] : a film / by Gina Kovacs and Christian Vinkeloe. PUBLISHER Princeton, N.J. : Films for the Humanities and Sciences, 1999. 1 videocassette (29 min.) : col., some black and white ; 1/2 in. "In 1968 Alexander Dubcek's attempt to liberalize Communist rule in Czechoslovakia and to creat "socialism with a human face" resulted in Soviet tanks in the streets of Prague. This program presents both the political detente behind Brezhnev's position and the dissent that was silenced within the Warsaw Pact alliance. In addition to extensive archival footage, contemporary interviews with leading Dubcek opponent Vasil Bilak; Jiri Pelikan, Czech radio director-general; Eduard Goldstuker of the Czech Writers Union ; Izvestia correspondent Vladlen Krivosheyev ; Grigori Yashkin, retired Soviet Army general ; and Werner Mantzsch, GDR Army political officer, provide insights that reveal the dissent within the Eastern Bloc countries in the 1960's. MEDIA SVC VIDEOTAPE 05318


<>Soviet patriotic history, emphasizing "Western" capitalist efforts to undermine the achievements of the revolution, using cartoons and original footage [FLM]

US Hollywood movies involving Russian themes =

|>1932:RASPUTIN AND THE EMPRESS (1932) D:Boleslawski| ((USA))
|>1933:GRAND SLAM| dtr=Dieterle
|>1934:British Agent| dtr=Curtiz
|>1934:Catherine the Great| dtr=Czinner
|>1937:Adventures of Michael Strogoff [name of film version of Verne kng??]
|>1939:NINOCHKA (1939)|2((USA))
|>1940:MAN FROM DAKOTA (1940)| ((USA))
|>1953?:Anna Karenina| ((prm lxt FLM| dtr=Brown,Clarence))
|>The Russians Are Coming| ((USA))
|>Russia House| ((USA))

|>Hollywood russkies, USA character actors =



ETC, still undistributed =

v21 Poland/Czechoslovakia/Hungary
v22 Romania/Yugoslavia/ Bulgaria/Albania
v23 Russia
v24 Latvia/Estonia/Lithuania/Belorussia/Ukraine/ Moldavia
v25 Azerbaijan/ Armenia/Georgia/Dagestan
v26 Kazakh/Uzbek/Turkmen/Tajik/Kirgiz/Kalmyk/Mari/ Bashkir/Siberia [KZX UZB TKM TDJ KIR BWK SIB]
v27 North American Indians

|>Colonialism:Ogre or Angel?|??:McGraw-Hill,??| ((FLM MPR ENG ntn wrl|30m:b&w CIV MPR))

|>The Commanders:Georgi Zhukov|Time-Life| ((prm JkvG lxt FLM mlt WW2))


|>Films for the Humanities,INC (P.NJ:GP.FFH)
--|1914-1918 (56m)
--|October 1917 (52m)
--|Red Dawn (20m)
--|Red Tsar (20m)
--|Vladimir Ilyich Lenin (13m)
--|Il Duce (20m)
--|The Second World War (30m)
--|Czechoslovakia 1968 (20m)
--|The Cuban Missile Crisis:1962 (20m)
--|Animated Soviet Propaganda
--|Voyages of the Vikings
--|A Very Russian Coup
--|The avant-garde in Russia 1910-1930
--|Soviets, the true story.....

|>FOLKLORE AND LEGEND [four historical Russian films. One of a ten volume video anthology produced by Gosfilmofond, Milestone Film & Video and the British Film Institute] VT2564 (40m) [cf=Discovering & cf=Russian]
--| “Drama in a Gyspy camp” [folklore] (1908) D:Vladimir Siversen. C:Gypsies
--| “Brigand Brothers” [based on PuwAS poem] (1912; unreleased). D:Vasilii Goncharov. Cast: Arsenii Bibikov, Ivan Mozzhukhin, Vasilii Stepanov
--| “Sixteenth century Russian wedding” [based on Sukhotin play] (1909). D:Vasilii Goncharov, art director, V. Fester, after paintings by Konstantin Makovskii. C:Aleksandra Goncharova, Vasilii Stepanov, Andrei Gromov
--| “Rusalka” [based on PuwAS play] (1910). D:Vasilii Goncharov P:Vladimir Siversen ; art director, V. Fester. C:Vasilii Stepanov, Aleksandra Goncharova




|>LIVES IN THE TRANSITION (VT2179) D:Lyons,Timothy (90m) 1992fa:Moscow. Timothy Lyons interviewed residents to discover what life was like under new governmental forms (Yeltsin-style democracy) and new economic forms (privatization and marketization)



|>NUREMBERG TRIALS (VT903) D: Svilov,S 56m (70m?) 1946|1945:1946;Nuremberg Germany|Soviet documentary about the trials of Nazi war criminals|The horrors of the Nazi German regime are shown so the world may understand them and prevent their recurrence|Includes historical footage of the Soviet Union before the German invasion

|>OBLOMOV (VT232) D:Mikhalkov [after Gnq novel] 145m 1980

|>OCTOBER 1917(52m)|P.NJ:GP.FFH| (()

|>PETROLEUM’S PROGRESS (16mm) 6minutes|a((nrg.p))

|>POLAND: 100 YEARS.... [history to 1572] () 50m


|>PROSHCHANIE (VT2966) based on Rasputin,Valentin story about life in Siberian countryside (160m)

|>Red Dawn (20m)|P.NJ:GP.FFH 786G| ((prm lxt FLM RREV3 $139))

|>Red Tsar (20m)|P.NJ:GP.FFH 789G| (($139))

|>REVEALING RUSSIA: Five Films by Marina Goldovskaya D:Goldovskaia,Marina Evseevna 1993fa
--| “Dom S Rytsariami” (House on Arbat Street; or The House with Knights)|VT2128
--| “House on Arbat... or House with Knights” G/Dom
--| “Journal of a Time...” G/Shattered
--| “Lucky to be Born...” G/Shattered
--| “Shattered Mirror”,1: A Journal of a Time and Trouble. VT2127
--| “Shattered Mirror”,2: Lucky to be Born in Russia. VT2132
--| “Solovki” G/Vlast...
--| “Taste Of Freedom”|VT2126 [frdom]
--| “Vlast Solovetskaia” (Solovki: Testimonies and Documents) [?S.mnk.tUt?] VT2125

|>RISE & FALL OF THE SOVIET UNION (VT1597) 120m 1992|700 years of Russian history through rarely seen films, photos, posters and prints from “the secret vaults” of the USSR

|>Russia at War (17m) (1945)| ((PSU FLM cat| WW2 CIV USA RUS3))

|>RUSSIA: CZAR [sic!] TO LENIN (MC116) 16mm film. (40m) 1966 b/w

|>RUSSIA IN TRANSITION (VT1389) 60m 1989|Documentaries from Soviet television, made available as part of a cultural exchange with the Soviet Union. “The view from my window” discusses how one woman tried to preserve the old traditions in her area through her art| “A ray of hope” looks at rejected children

|>Russia: Insight through Literature (54m 16mm) E. J. Simmons,narrator (1963)| ((PSU FLM cat))

|>RUSSIA, FRIEND OR FOE? (VT3153) D: Shorr,Ira [for WDC Center for Defense Information] 29m 1995de03| “Russia is a nation with an emerging democracy, 20,000 nuclear weapons, a large military, and a shattered economy. Is this a recipe for disaster or an opportunity for the U.S. to forge a new relationship with our former adversary?”

|>RUSSIAN [Ukrainian, Siberian, Central Asian & Moldavian] FOLK SONG & DANCE (VT675) 70m 1980



Some Bibliography

RussoTuristo YouTube FLM listings
IgorRussland YouTube FLM listings
a6u5e's Channel YouTube FLM listings
L'Image Inconnue

KinoKultura ((quality flm rvw~))

<>Écran démoniaque [The haunted screen; expressionism in the German cinema and the influence of Max Reinhardt] [by] Lotte H. Eisner. [Translated from the French by Roger Greaves]. Berkeley, University of California Press [1969] PN1993.5.G3 E513 1969b

<>Friend or foe? : Russians in American film and foreign policy, 1933-1991 / Michael J. Strada and Harold Troper

<>Illustration|FILM|About it| a{}

<>The Film factory : Russian and Soviet cinema in documents|Edited and translated by Richard Taylor ; co-edited with an introduction by Ian Christie|C.MA:HUP, 1988| ((PN1993.5.R9F47 1988|457p| prm))


<>Illustration|Posters| a{}

<>Posters of the Russian Revolution,1917-1929| ((RREV3 Gwrx NEP))


<>Illustration|Photos| a{}

<>Allshouse G/Prokudin

<>Baschet,E|Russland,1904-1924:Eine historische Foto-Reportage|Kehl am Rhein:1978| ((DK265.15.R87))

<>Cowler,Virginia|The Romanovs|N.NY:1971| ((UO?))

<>Day in the Life Series|Day in the Life of the Soviet Union|Photographed by 100 leading photojournalists on one day,15 May 1987,chosen from over 127,000 images taken in all 15 republics, and capturing the life of the average citizen at work and at leisure|:Collins| ((Hamilton kng| R&A92 vqt))

<>Donnert,Erich|Russia in the Age of Enlightenment|LPZ:1985| ((DK127.D6613))

<>Doré,Gustave|Histoire Dramatique|PRS:1854| ((cnp plc krx srv))

<>Fabian,Rainer|Images of War:130 Years of War Photography|Duton Green ENG:1985| ((d361.f313 |330p| wrx mdm jrn CIV))

<>FitzLyon,Kyril, and Tatania Browning, eds|Before the Revolution: A View of Russia under the Last Tsar|Woodstock NY:1978| ((DK260.B43| cf=DK260.F57[RUS adaptation]| prm lxt|Mrs Tolstoi looking thru window of rrd station at TolL,dead))

<>Gippenreiter,Vadim|Old Russian Cities|Text by Alexei Komech|L.ENG,King,1991| ((DK510.26.g57|191p ndx| grd))

<>Galitzine,George|Imperial Spendour:Palaces and Monasteries of Old Russia|L.ENG,Viking,1991| ((UO order|187p mnk.tUt))

<>Ignatov,I. N., ed|Gallereia russkikh pisatelei|MVA:1901| ((|>IGP|LCo |589p| bxo pst))

<>Iroshnikov,Mikhail,Yurii B. Sheliaev, and Liudmila A. Protsii|Before the Revolution: Saint Petersburg in Photographs,1890-1914|:Abrams,1992| ((UO| SPB N-2))

<>Lon,Marvin|??| ((DK189.R87))

<>Martin,John Stuart|??((DK265.41.M38 |ndx))

<>McDowell,Bart|Journey Across Russia: The Soviet Union Today|Photographed by Dean Conger|Prepared by the Special Publications Division,National Geographic Society|WDC:1977| ((UO |ndx| trv))

<>Miunster,A. ??.,publisher|Gallereia portretov or Portretnaia galleriia russkikh deiatelei (v 1861 godu [god 3-i])|SPB:1861| ((bxo |VARIOUS TITLES & REFERENCES|See Vk1,no. 1,for list of portraits))

<>Obolensky,Chloe|The Russian Empire: A Portrait in Photographs|N.NY:1979| ((DK189.024))

<>One Day in the Life of America|N.NY:1974| ((E169.02.O53))

<>Post,??|??| ((DK28.V26| cf=Tarsis))

<>Prokudin-Gorskii,S. M|Photographs for the Tsar: The Pioneering Color Photography of Sergei Mikhailovich Prokudin-Gorskii,Commissioned by Tsar Nicholas II|N.NY:1980| ((TR140.P76a34| N-2))

<>Salisbury,Harrison E., ed|Russia in Revolution,1900-1930|N.NY:1978| ((RREV))

<>Sichov,Vladimir|The Russians:Photographs by Vladimir Sichov|Text by Eugene Silianoff|Translated from the French by Robert Vollrath|B.MA:1980| ((DK18.5.S5213))

<>So lebt Mann...??|??| ((DK28.L34| prm lxt))

<>Sowjet-Union|2 volumes|??| ((DK28.M54515 |ndx| prm lxt))

<>Tarsis,Valerij|??| ((DK28.T2854| cf=Post))

<>Tolstoi,V. P., ed|Agitatsionno-massovoe iskusstvo: Oformlenie prazdnestv|Series:”Sovetskoe dekorativnoe iskusstvo:materialy i dokumenty,1917-1932”|2 volumes (vol. 2 subtitled “Tablitsy”)|MVA:1984| ((UO| xdj clt prp))