Podcasts about russian cinema

Stand back. Here comes Charlie and Antonio's first dive into the mystical pool that is Andrei Tarkovsky's work. First up: his towering historical epic ANDREI RUBLEV. Faith, humanity, art, death, history, war. Join the FilmBabble Boys as they tackle this legendary Russian film (and the man who made it!)Intro/outro music:  "jazzy" - jauwnANDREI RUBLEV (1966), USSR, written by Andrei Konchalovsky and Andrei Tarkovsky, directed by Andrei Tarkovsky, cinematography by Vadim Yusov, starring Anatoly Solonitsyn, Ivan Lapikov, Nikolai Grinko, Irma Raush, and Nikolai Buryayev. 

MOVIE DISCUSSION: Stephen McFerron, Cinematic Doctrine's newest contributor (read him here!), joins Melvin to discuss Stalker, the classic Andrei Tarkovsky science-fiction classic! Topics:Introducing Stalker is equally simple (three men travel through a zone to find a room that grants one's greatest desire) and complex (constant philosophical debate, ruminations upon the terror of desire, and the intimidating presence of The Zone).Stephen, "I think it's about evangelism and the Christian walk - to some degree."Stalker is not only literally long, coming in at 162-minutes, it also can feel long with exceedingly drawn-out sequences, but Melvin feels these moments imitate the mundane periods in our life that help us think.The Zone that our characters traverse is not only depicted like a character itself, but a deity as well.The Zone demands respect if what it has to offer is to be obtained, something one may consider is similar to God Himself.Spiritualism and Christianity were largely prohibited in Russian film and art during 1979, and yet Tarkovsky cleverly depicts Christian symbolism, strife, and meditations throughout Stalker's runtime.One of Melvin's favorite aspects of Stalker is the two brief reprieves where characters sit down and talk directly to the audience, exposing their soul through poetic raison d'être.Melvin, "Stalker really wrestles with the concept, "You may think you know what you want, but what you want may not be what you wanted.""Evangelism is often a painfully slow, seemingly fruitless process. And yet it often helps orient the evangelist to God first and foremost, despite its subject being the Godless.Getting into the final monologue of the film delivered by the Stalker's wife, which kills Melvin.Sometimes with evangelistic pursuits we neglect to focus on one of our most rewarding responsibilities: the family.God permeates not just the spectacular but also the mundane. Is that not also joyful?Melvin believes there's a severe criticism of industrialization through a particular B-theme of Stalker.It seems there's a perpetual frustration between Russian artists and the Russian government. Stalker definitely includes some of that cultural tension.Recommendations:The Criterion Channel (Streaming Service)Elden Ring (Game)Support on Patreon for Unique Perks! Early access to uncut episodes Vote on a movie/show we review Social Links: Twitter Website Facebook Group Support the show

TOSPWoSAJ tours take you on a journey through the one-starriest country of the moment: RUSSIA. Global security experts and podcast hosts Kip and Doug hand select the best of the worst Russian reviews. We recommend listening to this podcast at half speed in order to fully grasp the multi-layered analysis on the food court outside Lenin's Tomb's and the hit Russian film "From Russia with Love".

Our correspondent Roland Bidjamov filed this report about the return of main actress and director of the Russian feature drama (Challenge), which has 35 minutes from it that was shot in International Space Station.

This loosely autobiographical film offers long takes, naturalism, and plenty of space for your own deep (or shallow) thoughts. Twitter: @freshmoviepod || Instagram: @abreathoffreshmovie Email: abreathoffreshmovie@gmail.com Theme Music, "A Movie I'd Like to See" by Al Harley.

A return to Tarkovsky's filmography, Douglas and Jonathan delve into the psychological, methodically paced Russian classic Stalker.|| TwoFiveOh Masterlist: list.twofiveoh.com|| Instagram: instagram.com/twofiveohpod

Russian top-stories of the week. This podcast is available in Russian only. - В этом выпуске рубрики "Россия за неделю":

Adam and Smokey dust off the guest chair, once again, and welcome their favourite Russian Cinema expert, onto the back row. Ally, from the wonderful Russophiles Unite podcast, brings the bear skin hats and vodka, while Russian cliches are avoided.

One of God's Fools - The Zone in Andrei Tarkovsky's Stalker On this week's episode of WatchThis W//RickRamos, Ibrahim & I sit down to discuss one of the great achievements of Cinema, Andrei Tarkovsky's Stalker. This late-70's era Russian existential masterpiece has rightfully been recognized as one of the most important films of Russian Cinema and an amazing examination of philosophical and psychological themes. There's little more that can be said in this introduction. We hope that you listen and discover this intelligent and challenging film for yourself. Take a listen and let us know what you think. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com. Our Continued Thanks & Appreciation. 

This film is available on:  Amazon, Apple, and your local library.Support our showNext Film: In the Army Now (1994)Available on: Amazon, Apple, and your local library.

Some classic arthouse cinema and Andrei Tarkovsky's first appearance in the Top 250 List, Douglas and Jonathan ponder and share their theories on the meanings and metaphors in this week's episode covering Andrei Rublev.|| TwoFiveOh Masterlist: bit.ly/twofiveohpod|| Instagram: instagram.com/twofiveohpod

We discuss the work of Vsevolod Pudovkin, one of the bright lights of the Russian avant-garde, and focus in on his films MOTHER (1926) and STORM OVER ASIA (1928). Are his films dusty relics or exciting vital art? We find out! Grab Gold Ninja Video's NINJA VORTEX now at www.goldninjavideo.com In this week's Patreon episode, we tackle Paul Schrader's PATTY HEARST. Become a Patreon subscriber for $5 a month and get an exclusive episode every week! www.patreon.com/theimportantcinemaclub

Part 5 of the On Cinema Series!Support the show (https://www.paypal.com/donate/?token=FSWVIQieDKGHssziAb8D9lL8lv5mmdHF8m2xr-u9WJbXQPHEXbGcV-v_f9Pl9IWh2UqlBG&fromUL=true&country.x=US&locale.x=en_US)

Another installment of On Cinema!Support the show (https://www.paypal.com/donate/?token=FSWVIQieDKGHssziAb8D9lL8lv5mmdHF8m2xr-u9WJbXQPHEXbGcV-v_f9Pl9IWh2UqlBG&fromUL=true&country.x=US&locale.x=en_US)

Podcast Episode

Über Monstertrucks, Sexszenen und Menschlichkeit. Boris Khlebnikovs 'Arrhythmia' wirft uns in den Ärzte- und Beziehungsalltag von Oleg und Katja hinein. Wir stellen Ferndiagnosen zum Innenleben von Medizinern, eskalieren zu russischer Popmusik und klopfen an authentischen Wohnungstüren.

Where we chat all things Russian Resurrection Film Festival now in full swing with Festival Director Nicholas Maksymow and delve into the third annual Winda Film Festival with Executive Director Medika Thorpe and Artistic Director Pauline Clague

Emmy nominated production designer and set decorator Nadya Gurevich has an amazing story. From her beginnings in working on short films, to television shows, and now "BlacKkKlansman" and "First Reformed" we talk about the progression of her life and work. 

In studying the pre-Revolutionary films of Evgenii Bauer, Dr. Rachel Morley (Lecturer in Russian Cinema and Culture at the School of Slavonic and East European Studies, University College London) discovered the ubiquity of the female performer as a character in the cinema of this era, from “Oriental” and “Gypsy” dancers... Learn more about your ad choices. Visit megaphone.fm/adchoices

In studying the pre-Revolutionary films of Evgenii Bauer, Dr. Rachel Morley (Lecturer in Russian Cinema and Culture at the School of Slavonic and East European Studies, University College London) discovered the ubiquity of the female performer as a character in the cinema of this era, from “Oriental” and “Gypsy” dancers to ballerinas and opera singers. In her interdisciplinary 2017 monograph, Performing Femininity: Woman as Performer in Early Russian Cinema (I.B. Tauris, 2016), Morley expands her scope to encompass a large cross-section of pre-Soviet Russian film. Investigating the way in which early filmmakers utilized the image of the female performer to explore contemporary issues surrounding gender identity and the changing role of women in Russian society in the late 19th and early 20th century, Morley traces a notable shift away from complete objectification to relative agency for women on screen – a shift contingent in part on the rejection of the idealized images of women prominent in 19th-century Russian literature and art. In addition to an analysis of the female performer as a representation of social change, Morley conducts an incisive analysis of the manner by which Bauer, Drankov, Viskovskii, and other pioneers of early Russian film utilized the archetype of the female performer to develop a cinematic language through innovative cinematographic techniques. Providing invaluable insights both on the development of early Russian cinema and the evolving social and cultural attitudes surrounding gender and performance in pre-1917 Russia, Performing Femininity is essential reading for scholars and enthusiasts of both film and women’s history. Diana Dukhanova holds a PhD in Slavic Studies and an MA in Religious Studies from Brown University. She is currently Visiting Assistant Professor of Russian in the Department of Modern Languages at the College of the Holy Cross. Learn more about your ad choices. Visit megaphone.fm/adchoices

In studying the pre-Revolutionary films of Evgenii Bauer, Dr. Rachel Morley (Lecturer in Russian Cinema and Culture at the School of Slavonic and East European Studies, University College London) discovered the ubiquity of the female performer as a character in the cinema of this era, from “Oriental” and “Gypsy” dancers to ballerinas and opera singers. In her interdisciplinary 2017 monograph, Performing Femininity: Woman as Performer in Early Russian Cinema (I.B. Tauris, 2016), Morley expands her scope to encompass a large cross-section of pre-Soviet Russian film. Investigating the way in which early filmmakers utilized the image of the female performer to explore contemporary issues surrounding gender identity and the changing role of women in Russian society in the late 19th and early 20th century, Morley traces a notable shift away from complete objectification to relative agency for women on screen – a shift contingent in part on the rejection of the idealized images of women prominent in 19th-century Russian literature and art. In addition to an analysis of the female performer as a representation of social change, Morley conducts an incisive analysis of the manner by which Bauer, Drankov, Viskovskii, and other pioneers of early Russian film utilized the archetype of the female performer to develop a cinematic language through innovative cinematographic techniques. Providing invaluable insights both on the development of early Russian cinema and the evolving social and cultural attitudes surrounding gender and performance in pre-1917 Russia, Performing Femininity is essential reading for scholars and enthusiasts of both film and women’s history. Diana Dukhanova holds a PhD in Slavic Studies and an MA in Religious Studies from Brown University. She is currently Visiting Assistant Professor of Russian in the Department of Modern Languages at the College of the Holy Cross. Learn more about your ad choices. Visit megaphone.fm/adchoices

In studying the pre-Revolutionary films of Evgenii Bauer, Dr. Rachel Morley (Lecturer in Russian Cinema and Culture at the School of Slavonic and East European Studies, University College London) discovered the ubiquity of the female performer as a character in the cinema of this era, from “Oriental” and “Gypsy” dancers to ballerinas and opera singers. In her interdisciplinary 2017 monograph, Performing Femininity: Woman as Performer in Early Russian Cinema (I.B. Tauris, 2016), Morley expands her scope to encompass a large cross-section of pre-Soviet Russian film. Investigating the way in which early filmmakers utilized the image of the female performer to explore contemporary issues surrounding gender identity and the changing role of women in Russian society in the late 19th and early 20th century, Morley traces a notable shift away from complete objectification to relative agency for women on screen – a shift contingent in part on the rejection of the idealized images of women prominent in 19th-century Russian literature and art. In addition to an analysis of the female performer as a representation of social change, Morley conducts an incisive analysis of the manner by which Bauer, Drankov, Viskovskii, and other pioneers of early Russian film utilized the archetype of the female performer to develop a cinematic language through innovative cinematographic techniques. Providing invaluable insights both on the development of early Russian cinema and the evolving social and cultural attitudes surrounding gender and performance in pre-1917 Russia, Performing Femininity is essential reading for scholars and enthusiasts of both film and women’s history. Diana Dukhanova holds a PhD in Slavic Studies and an MA in Religious Studies from Brown University. She is currently Visiting Assistant Professor of Russian in the Department of Modern Languages at the College of the Holy Cross. Learn more about your ad choices. Visit megaphone.fm/adchoices

In studying the pre-Revolutionary films of Evgenii Bauer, Dr. Rachel Morley (Lecturer in Russian Cinema and Culture at the School of Slavonic and East European Studies, University College London) discovered the ubiquity of the female performer as a character in the cinema of this era, from “Oriental” and “Gypsy” dancers... Learn more about your ad choices. Visit megaphone.fm/adchoices

In studying the pre-Revolutionary films of Evgenii Bauer, Dr. Rachel Morley (Lecturer in Russian Cinema and Culture at the School of Slavonic and East European Studies, University College London) discovered the ubiquity of the female performer as a character in the cinema of this era, from “Oriental” and “Gypsy” dancers... Learn more about your ad choices. Visit megaphone.fm/adchoices

How do women today relate to and build cultural bridges with Russia?Borimir Totev talks with three leading women about the ways in which they relate to Russia. Our conversation with Natasha Butterwick explores her tenure as owner of the online platform Russian Art and Culture. We discuss the role of women in pre-revolutionary and contemporary Russian cinema with Dr. Rachel Morley from the School of Slavonic and East European Studies, author of the book 'Performing Femininity: Woman as Performer in Russian Cinema'. Finally, we are taken on a journey to the snow covered streets of Moscow with the BAFTA award winning film and television director Margy Kinmonth, director of 'Revolution: New Art for a New World'.This podcast episode was edited and produced for Pushkin House by Borimir Totev.

In the third of our 'Talking Europe' series of podcasts, Dr Rachel Morley, charts the changing representations of femininity in pre-revolutionary Russian cinema, in conversation with Dr Tim Beasley-Murray. Rachel is Lecturer in Russian Cinema and Culture at the UCL School of Slavonic Studies.

Adrian Jones introduces Andrei Tarkovsky's great film Andrei Rublëv (1964, 1966-69), sometimes spelt as "Roublev" or "Rublyov". The film traces episodes in the fourteenth-century life of one of the greatest of Russian icon painters. Copyright 2013 Adrian Jones / La Trobe University, all rights reserved. Contact for permissions.

Adrian Jones introduces Andrei Tarkovsky's great film Andrei Rublëv (1964, 1966-69), sometimes spelt as "Roublev" or "Rublyov". The film traces episodes in the fourteenth-century life of one of the greatest of Russian icon painters. Copyright 2013 Adrian Jones / La Trobe University, all rights reserved. Contact for permissions.