Podcasts about soviet cinema

Retour vers le passé ! Cette semaine on parle d'une personnage qui a marqué nos enfances : Aelita de Code Lyoko ! IA ou humaine ? Princesse ou gardienne ? Symbole ou simple adolescente ? On explore toute l'histoire d'Aelita et de Code Lyoko pour parler d'humanité et de rapport de la technologie à l'humain et la société. On revient aussi encore plus dans le passé en allant chercher l'origine du prénom Aelita et on se perd sur Mars... Merci à Jayhan (@JayhanOfficial) pour les super intro et outro ! Tu peux nous suivre sur tous les réseaux : @codexespod et nous laisser une note et un commentaire sympa si tu veux. Force et amour. Ressources : - « “Down to Earth: Aelita Relocated”, Inside the Film Factory: New Approaches to Russian and Soviet Cinema», de Ian Christie. 1991 - « Science Fiction of the Domestic : Iakov Protazanov's Aelita »de Andrew J. Horton. https://www.pecina.cz/files/www.ce-review.org/00/1/kinoeye1_horton.html - « Women as Princesses or Comrades: Ambivalence in Yakov Protazanov's Aelita (1924) » de Peter G. Christensen. 2000 - « A Study on the Aesthetics Characteristics of Retro-Futuristic Fashion » de Alfonso N. Núñez Barranco, Antonio J. Domenech del Rio etYoungsun Yoo. 2002 - En route vers l'usine de Herman Martin et Serge Tavitian, morceau de la BO de Code Lyoko joué pendant l'épisode. - Thème de Lyoko 1 de Herman Martin et Serge Tavitian, morceau de la BO de Code Lyoko joué pendant l'épisode. - En Transfert de Herman Martin et Serge Tavitian, morceau de la BO de Code Lyoko joué pendant l'épisode. - Xana 2D de Herman Martin et Serge Tavitian, morceau de la BO de Code Lyoko joué pendant l'épisode. - Combat sur Lyoko 1 de Herman Martin et Serge Tavitian, morceau de la BO de Code Lyoko joué pendant l'épisode. - Thème de Lyoko 2 de Herman Martin et Serge Tavitian, morceau de la BO de Code Lyoko joué à la fin de l'épisode. - Un monde sans danger de Franck Keller et Ygal Amar, générique de Code Lyoko joué à la fin de l'épisode.

Dreams with Gilliam, The Rolling Stones Through the Years,  The Silent Voice, The Magic of Tarkovsky, Zappa, A Trio of Very Different Noir On this week's episode Mr. Chavez & I return to reminiscing on 500 shows. We begin with the beauty and magic of Terry Gilliam with The Adventures of Baron Munchausen, through a look at Rock 'N Roll and The Rolling Stones, A beginning series of movies that defined their decades, the beauty of Soviet Cinema with Andrei Tarkovsky, and The Dark Brilliance of Film Noir. It's a fun look back; We hope you'll take the ride with us. Many Thanks. We can always be reached at gondoramos@yahoo.com.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Jem looks into Soviet Cinema and Alexander Nevsky.Support this show http://supporter.acast.com/condensed-histories. Hosted on Acast. See acast.com/privacy for more information.

In this episode of History 102, WhatifAltHist creator Rudyard Lynch and Erik Torenberg Explore the tumultuous history of Imperial Russia, from its Viking origins to the rise of the Romanovs and the impact of the Mongols. When did Russia truly become a significant player on the global stage, and what were the key events that solidified its status? Listen and discover how Imperial Russia grappled with its identity, its relationship with the West, and its long journey toward modernization

On this episode, Nick speaks with Susanna Weygandt a scholar studying performance theories of Russian and East European theater. She discusses the work of Anatoly Vasiliev, famed Russian theater director for the Moscow School of Dramatic Arts. Thanks for listening! ABOUT THE GUEST: Elena Susanna Weygandt analyzes and documents performance theories indigenous to Russia and East Europe that have not yet been documented. She draws on methods of interview and ethnography as well as digital display in her research on contemporary topics. In her soon-to-be published book with the University of Wisconsin Press, From Metaphor to Direct Speech: Drama and Performance Theory in Contemporary Russia, she identifies the main writers and performance theories of the vibrant movement, Novaia Drama, and situates this pioneering literature in the contemporary Russian literary canon, the Performance Studies field, and within Post-Soviet studies. The New Dramatists assert that it is precisely in the theatre, with its inherent form of critique and reflection provided by the stage, where the contemporary moment of the present can be held at arm's length away, which creates enough of a distance from the present for a historical perspective about it to emerge. This research has shaped her into a scholar and teacher of visual language, the body, feminist art, gender, exhibition on digital platforms, and all genres of documentary and realism in Russian and East European literature. Her publications on these topics of cultural history in Russia and East Europe from 1953 to the present appear in The Russian Review, Studies in Russian and Soviet Cinema, TDR: The Drama Review, Apparatus: Film, Media, and Digital Cultures in Central and Eastern Europe, and in a co-edited anthology published by Columbia UP. She received her training in Slavic Languages and Literatures from Princeton (PhD 2015; Graduate Certificate in History of Science 2015). At Sewanee: The University of the South she teaches all levels of Russian in the Russian Department and her joint affiliation in the Humanities Program. https://new.sewanee.edu/programs-of-study/russian/faculty-staff/susanna-weygandt/ If you have questions, comments, or would like to be a guest on the show, please email slavxradio@utexas.edu and we will be in touch! PRODUCTION CREDITS Assistant EP: Misha Simanovskyy (@MSimanovskyy) Associate Producer: Cullan Bendig (@cullanwithana) Associate Producer: Eliza Fisher Assistant Producer: Taylor Helmcamp Assistant Producer/Videographer: Basil Fedun Social Media Manager: Faith VanVleet Host/Supervising Producer: Nicholas Pierce Main Theme by Charlie Harper and additional background music by Beat Mekanik, Crowander, Dlay) Executive Producer & Creator: Michelle Daniel (@MSDaniel) www.msdaniel.com DISCLAIMER: Texas Podcast Network is brought to you by The University of Texas at Austin. Podcasts are produced by faculty members and staffers at UT Austin who work with University Communications to craft content that adheres to journalistic best practices. The University of Texas at Austin offers these podcasts at no charge. Podcasts appearing on the network and this webpage represent the views of the hosts, not of The University of Texas at Austin. https://files.fireside.fm/file/fireside-uploads/images/9/9a59b135-7876-4254-b600-3839b3aa3ab1/P1EKcswq.png

On this episode, Nick speaks with Susanna Weygandt a scholar studying performance theories of Russian and East European theater. She discusses the work of Anatoly Vasiliev, famed Russian theater director for the Moscow School of Dramatic Arts. Thanks for listening! ABOUT THE GUEST: Elena Susanna Weygandt analyzes and documents performance theories indigenous to Russia and East Europe that have not yet been documented. She draws on methods of interview and ethnography as well as digital display in her research on contemporary topics. In her soon-to-be published book with the University of Wisconsin Press, From Metaphor to Direct Speech: Drama and Performance Theory in Contemporary Russia, she identifies the main writers and performance theories of the vibrant movement, Novaia Drama, and situates this pioneering literature in the contemporary Russian literary canon, the Performance Studies field, and within Post-Soviet studies.  The New Dramatists assert that it is precisely in the theatre, with its inherent form of critique and reflection provided by the stage, where the contemporary moment of the present can be held at arm's length away, which creates enough of a distance from the present for a historical perspective about it to emerge. This research has shaped her into a scholar and teacher of visual language, the body, feminist art, gender, exhibition on digital platforms, and all genres of documentary and realism in Russian and East European literature. Her publications on these topics of cultural history in Russia and East Europe from 1953 to the present appear in The Russian Review, Studies in Russian and Soviet Cinema, TDR: The Drama Review, Apparatus: Film, Media, and Digital Cultures in Central and Eastern Europe, and in a co-edited anthology published by Columbia UP. She received her training in Slavic Languages and Literatures from Princeton (PhD 2015; Graduate Certificate in History of Science 2015). At Sewanee: The University of the South she teaches all levels of Russian in the Russian Department and her joint affiliation in the Humanities Program. https://new.sewanee.edu/programs-of-study/russian/faculty-staff/susanna-weygandt/ If you have questions, comments, or would like to be a guest on the show, please email slavxradio@utexas.edu and we will be in touch! PRODUCTION CREDITSAssistant EP: Misha Simanovskyy (@MSimanovskyy)Associate Producer: Cullan Bendig (@cullanwithana)Associate Producer: Eliza FisherAssistant Producer: Taylor HelmcampAssistant Producer/Videographer: Basil FedunSocial Media Manager: Faith VanVleetHost/Supervising Producer: Nicholas Pierce Main Theme by Charlie Harper and additional background music by Beat Mekanik, Crowander, Dlay) Executive Producer & Creator: Michelle Daniel (@M_S_Daniel) www.msdaniel.com

Cuba didn't like it. And Russia didn't like it. But Coppola and Scorsese LOVED it. This week we took a look SOY CUBA (1964) dir. by Mikhail Kalatozov.SUPPORT THE SHOW  https://www.patreon.com/user?u=84434074 FOLLOW THE SHOWhttps://www.instagram.com/freshmoviepod/https://twitter.com/freshmoviepodhttps://www.tiktok.com/@fresh.movie.pod?is_from_webapp=1&sender_device=pcFOLLOW CHELSEA https://www.instagram.com/chelseathepope/https://twitter.com/chelseathepopeFOLLOW VICTORIA https://letterboxd.com/vicrohar/  EMAIL THE SHOWabreathoffreshmovie@gmail.com  SHOP THE SHOWhttp://tee.pub/lic/bvHvK3HNFhk  YouTube Channel  

In this author interview, I speak with Brad Weismann, an award-winning writer and journalist who has also worked as a stand-up comic and improv actor. He's contributed to publications and websites worldwide such as Senses of Cinema, Film International, Backstage, Movie Habit, Colorado Daily and Boulder Magazine. His first book, Lost in the Dark: A World History of Horror Films, was recently published by the University of Mississippi and he contributed to the critical collection 100 Years of Soviet Cinema. He joins me today to talk about his new book, Horror Unmasked: A History of Terror from Nosferatu to Nope. Listen to hear about what horror is, how horror films are similar to today's superhero films, and why the horror genre has been kept out of the Oscars (with very few exceptions). Books mentioned in this episode include:Danse Macabre by Stephen KingThe Monster Show: A Cultural History of Horror by David J. SkalScreams of Reason: Mad Science in Modern Culture by David J. SkalDark Carnival: The Secret World of Tod Browning, Hollywood's Master of Macabre by David J. SkalThe Horror Film: An Introduction by Rick WorlandThe Rough Guide to Horror Movies by Alan JonesFour of the Three Musketeers: The Marx Brothers on Stage by Robert S. BaderMontaigne's Essays by Michel de MontaigneOn the Air: The Encyclopedia of Old-Time Radio by John DunningFilms mentioned in this episode include:Dracula directed by Tod Browning & Karl FreundThe Mummy directed by Karl FreundFrankenstein directed by James WhaleBatman vs. Superman directed by Zack SnyderFreddy vs. Jason directed by Ronny YuGet Out directed by Jordan PeeleThe Shape of Water directed by Guillermo del ToroThe Silence of the Lambs directed by Jonathan DemmeSmile directed by Parker FinnNope directed by directed by Jordan Peele Evil Dead Rise directed by Lee CroninThe Bride of Frankenstein directed by James WhalePeeping Tom directed by Michael PowellThe Wicker Man directed by Robin HardySeven Samurai directed by Akira KurosawaLawrence of Arabia directed by David LeanChildren of Paradise directed by Marcel CarneAlso mentioned in this episode:Scooby-Doo

Jackie and Greg enter the Zone in search of the deeper meaning behind Andrei Tarkovsky's STALKER from 1979. Topics of discussion include the film's texture, its roots as a sci-fi novel, Tarkovsky as a conjurer, and its (literal) toxic production history.#29 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#43 on Sight & Sound's 2022 "The 100 Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Become a RWAboo and get more pods: https://www.patreon.com/posts/75018658 Or here: https://russianswithattitude.gumroad.com/ 00:00:00 - Intro 00:01:38 - Russian Dieselpunk (Kin Dza Dza 1986) vs Neoliberal Western Sci-fi 00:16:23 - USSR in the 1980s, West worship, Sanctions and Ikea 00:33:59 - Russian Dubbing, Vincent Gallo in person, Musk buying twator 00:49:35 - Soviet Ryan Gosling (Afonya 1975) 01:02:53 - Horny Intelligencia (Autumn Marathon 1979) 01:13:27 - Georgiy Danelia's style. Elen Klimov, Larisa Shepitko, Marlen Hutsiev, Mikhail Kalatozov (The Cranes Are Flying 1957) 01:32:10 - Ubiytsy/The Killers (A. Tarkovsky 1956) Youtube: https://www.youtube.com/watch?v=M7F5IAaytlI

Episode 116:This week we're continuing Russia in Revolution An Empire in Crisis 1890 - 1928 by S. A. Smith[Part 1]Introduction[Part 2-5]1. Roots of Revolution, 1880s–1905[Part 6-8]2. From Reform to War, 1906-1917[Part 9-12]3. From February to October 1917[Part 13 - 17]4. Civil War and Bolshevik Power[Part 18 - 22]5. War Communism[Part 23 - 26]6. The New Economic Policy: Politics and the Economy[Part 27]7. The New Economic Policy: Society and CultureSocial Order RestoredDesigning a Welfare State[Part 28 - This Week]7. The New Economic Policy: Society and CultureThe Arts and Utopia - 0:22Family and Gender Relations - 29:47[Part 29 - 30]7. The New Economic Policy: Society and Culture[Part 31?]ConclusionFigure 7.2 - 9:47Liubov' Popova, ‘Jug on a table'.Figure 7.3 - 11:03Vladimir Tatlin and assistant in front of a model of his Monument to the Third International, 1919.Figure 7.4 - 35:33A demonstration for women's liberation in Baku, Azerbaijan, c.1925.Footnotes:36) 2:48Karl Marx and Friedrich Engels, ‘Communist Manifesto' (1848), .37) 3:44Richard Stites, Revolutionary Dreams: Utopian Vision and Experimental Life in the Russian Revolution (New York: Oxford University Press, 1989); Catriona Kelly and David Shepherd, Russian Cultural Studies: An Introduction (Oxford: Oxford University Press, 1998).38) 5:13Alexander Bogdanov, Red Star: The First Bolshevik Utopia, trans. Charles Rougle (Bloomington: Indiana University Press, 1984); J. A. E. Curtis, The Englishman from Lebedian: A Life of Evgeny Zamiatin (Boston: Academic Studies Press, 2013).39) 5:54Lenin, State and Revolution.40) 6:05J. Bowlt and O. Matich (eds), Laboratory of Dreams: The Russian Avant-Garde and Cultural Experiment (Stanford, CA: Stanford University Press, 1996).41) 6:33The Great Utopia: The Russian and Soviet Avant-Garde, 1917–1932 (New York: Guggenheim Museum, 1992).42) 8:04Mayakovsky, ‘150 million', in René Fülöp-Miller, The Mind and Face of Bolshevism (New York: Harper Torchbooks, 1965), 159.43) 11:42E. A. Dobrenko and Marina Balina (eds), The Cambridge Companion to 20th-Century Russian Literature (Cambridge: Cambridge University Press, 2011); Robert A. Maguire, Red Virgin Soil: Soviet Literature in the 1920s (Princeton, NJ: Princeton University Press, 1968).44) 14:42Richard Taylor, The Politics of the Soviet Cinema, 1917–1929 (Cambridge: Cambridge University Press, 1979); Peter Kenez, Cinema and Soviet Society, 1917–1953 (Cambridge: Cambridge University Press, 1992).45) 18:45Lesley Chamberlain, Lenin's Private War: The Voyage of the Philosophy Steamer and the Exile of the Intelligentsia (London: St Martin's Press, 2007).46) 19:54Il'ina, Obshchestvennye organizatsii Rossii, 32, 74.47) 20:39T. M. Goriaeva (ed.), Istoriia sovetskoi politicheskoi tsenzury: dokumenty i kommentarii (Moscow: ROSSPEN, 1997), 444.48) 21:29Goriaeva, Istoriia, 277, 430–2.49) 22:15Michael David-Fox, Revolution of the Mind: Higher Learning among the Bolsheviks, 1918–1929 (Ithaca, NY: Cornell University Press, 1997).50) 24:35R. W. Davies and Maureen Perrie, ‘Social Context', in Davies (ed.), From Tsarism, 36.51) 26:04Christopher Read, Culture and Power in Revolutionary Russia (New York: St Martin's Press, 1990); Fitzpatrick, The Cultural Front.52) 27:05Sheila Fitzpatrick, Cultural Revolution in Russia, 1928–1931 (Bloomington: Indiana University Press, 1978).53) 29:58Goldman, Women, the State and Revolution.54) 31:01Barbara A. Engel, Breaking the Ties that Bind: The Politics of Marital Strife in Late Imperial Russia (Ithaca, NY: Cornell University Press, 2011), 6.55) 32:15K. N. Samoilova, Rabotnitsy v Rossiiskoi revoliutsii (Petrograd: Gosizdat, 1920), 3.56) 32:33Chernykh, Stanovlenie Rossii sovetskoi, 179.57) 33:15Beatrice Farnsworth, Aleksandra Kollontai: Socialism, Feminism and the Bolshevik Revolution (Stanford, CA: Stanford University Press, 1980); Barbara E. Clements, Bolshevik Feminist: The Life of Aleksandra Kollontai (Bloomington: Indiana University Press, 1979).58) 36:02Douglas Northrup, Veiled Empire: Gender and Power in Stalinist Central Asia (Ithaca, NY: Cornell University Press, 2004); Marianne Kamp, The New Woman of Uzbekistan (Seattle: Washington University Press, 2006), 162–78. Shoshana Keller, To Moscow, Not Mecca: The Soviet Campaign against Islam in Central Asia, 1917–1941 (Westport, CT: Praeger, 2001).59) 37:13Beatrice Penati, ‘On the Local Origins of the Soviet Attack on the “Religious” Waqf in the Uzbek SSR (1927)', Acta Slavonica Iaponica, 36 (2015), 39–72.60) 37:19Karen Petrone, ‘Masculinity and Heroism in Imperial and Soviet Military-Patriotic Cultures', in B. E. Clements, Rebecca Friedman, and Dan Healey (eds), Russian Masculinities in History and Culture (Basingstoke: Palgrave, 2002), 172–93.61) 39:04Victoria E. Bonnell, ‘The Representation of Women in Early Soviet Political Art', Russian Review, 50 (1991), 267–88.62) 42:10S. G. Strumilin, ‘Biudzhet vremeni rabochikh v 1923–24gg.', in S. G. Strumilin, Problemy ekonomiki truda (Moscow: Nauka, 1982).63) 44:09Golos naroda, 157.64) 47:52Frances Bernstein, The Dictatorship of Sex: Gender, Health, and Enlightenment in Revolutionary Russia, 1918–1931 (DeKalb: Northern Illinois University Press, 2007).65) 48:57Eric Naiman, Sex in Public: The Incarnation of Early Soviet Ideology (Princeton, NJ: Princeton University Press, 1997), 92.

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Support The Daily Gardener Buy Me A Coffee    Connect for FREE! The Friday Newsletter |  Daily Gardener Community   Historical Events 1713 Death of Henry Compton, Bishop of London from 1675 to 1713. Although Henry played an important role in English political and religious circles, his main passion was plants — especially scarce and exotic plants. It was said that Henry relished staying on the fringes of Charles II's court because it gave him more time to devote to his plants and gardens. One of his closest friends was one of the earliest English parson-naturalists, John Ray, who published the first account of North American flora in his Historia Plantarum (1688). Since Henry's role overseeing the Church extended to the American Colonies, Henry was able to get his hands on all the new plant discoveries from the new world. Henry even personally sent a man named John Banister to collect plants for him in Virginia. John is most remembered for sending Henry the Magnolia virginiana and Dodecatheon media. Tragically, John died at 38 after falling from a cliff while exploring the area above James River.  Between his involvement with the top plant explorers and nurseries of his day and his special relationship with the Tradescant family, Henry was able to fully stock his garden at Fulham Palace. This Tudor country house was home to England's clergy for over a millennium. When he was alive, Henry's garden was reputed to have a greater variety of plants than any other garden in England. It featured over 1,000 exotic plants and tropicals, making it one of his time's most popular, envied, and essential gardens. Henry's kitchen garden always grew a great crop of his favorite vegetable: kidney beans. In 1686, even William Penn's Pennsylvania gardener was keen to swap seeds and plants with Henry Compton. History records that Henry felt guilt about the amount of church money he had invested in plants. His collection of trees was also particularly exciting. Henry grew the first Liriodendron tulipifera (the tulip tree), Liquidambar (American Sweetgum) used as a veneer or satinwood in furniture, Acacia, Mahogany, and Maple trees in England. The garden designer Capability Brown found a special inspiration after touring Fulham, and it was there that he first saw the cluster-pin, the ash-maple, the cork oak, the black Virginian walnut, and the honey locust. Henry also grew the first American azalea grown in England, Rhododendron viscosum. Henry even managed to grow the first coffee tree in England with the help of his heated "stove.". In 1698, the Governor of Virginia personally sent Henry a Magnolia virginiana for "his paradise at Fulham." Three hundred years after Henry planted the first Magnolia virginiana grown in Europe at St. Anne's Church, a new tree was planted in the exact same spot to honor the botanical work of Bishop Henry Compton. The Arnold Arboretum at Harvard propagated the Magnolia sapling, and it was hand-delivered by Vi Lort Phillips, a member of the International Dendrology Society. The tree was planted on the 19th of May in 1992 and is already forty years old this year (2022).  St. Anne's Church was special to Henry. He consecrated the grounds in honor of Queen Anne because he had tutored both Princesses Mary and Anne when they were young.   1893 Birth of Miroslav Krleža, Yugoslav and Croatian writer, poet, and cultural influencer. Miroslav's nickname was Fritz, and he is often credited as the greatest Croatian writer of the 20th century. Miroslav believed that Serbs and Croats were one people suffering from two national consciences, which inevitably pitted them against each other. Today three hours west of his hometown of Zagreb, a celebrated statue of Miroslav stands in Opatija above the city's famous Slatina Beach. During WWI, Miroslav wrote in his diary at the Croatian Botanical Garden in Zagreb. The relaxing gardens edge the city railroad tracks before blending into the native grass and forestlands that feather the countryside. Although Miroslav found the garden suitable for writing, he dismissed its beauty and criticized it as a "boring second-rate cemetery."  Miroslav served in the same regiment as Yugoslavian communist dictator Tito during the war, but the two men didn't become lifelong friends until 1937. Tito protected Krleža from pressures in his party. Tito once told him, I know you're an old liberal and that you disagree with me on many things, but I wouldn't want to lose you.   In 1938, Miroslav wrote On the Edge of Reason - an instant classic about human nature, hypocrisy, conformism, and stupidity. Miroslav once wrote, There is no justice even among flowers.   1908 Birth of Herbert Rappaport, Austrian-Soviet screenwriter, and film director. Born in Vienna, Herbert first studied law before finding work in the movie business. In 1936, he was invited to help internationalize Soviet Cinema, and he spent the next four decades working as a filmmaker in Russia. Herbert once wrote, I hope that while so many people are out smelling the flowers, someone is taking the time to plant some.   1944 Birth of Manny Steward, American boxer, trainer, and commentator for HBO Boxing. He was known as The Godfather of Detroit Boxing and trained 41 world champion fighters during his long career, including Thomas Hearns, Lennox Lewis, and Wladimir Klitschko. He once wrote, My favorite hobby is being alone. I like to be alone. I also like dancing, fishing, playing poker sometimes and vegetable gardening – corn, tomatoes, cucumbers, I have a big garden every year.   Grow That Garden Library™ Book Recommendation The Gardener's Palette by Jo Thompson This book came out in 2022, and the subtitle is Creating Colour Harmony in the garden. Jo Thompson is one of Britain's leading garden designers, and this is her second book, which was written in conjunction with the Royal Horticultural Society. Well, the title of this book says it all - palettes - masterfully proven gorgeous color combinations for your garden. I've found that the most challenging job about palettes is not picking them but sticking to them. And it's usually when we get into times of color droughts in our garden or hit an excellent garden sale that we break with our palette, and then the garden can slowly devolve into something a little wild and wooly.  That said, if you feel you're ready to make a change and take a more disciplined approach to what you plant in your flower garden, then Jo's book will be a fantastic resource. Jo is a color master - a purveyor of color palettes. She serves up 100 palette options and then identifies the plants you should be scouting to make your palette a reality. The photos in this book are incredibly inspiring and beautifully illustrate why the colors work so well together in a garden. Garden's Illustrated recently shared Jo's top five favorite color combos. Her picks included the following: Tutti Fruitti is bright magentas, and fizzing oranges delight as they catch the eye. Sherberts offers mouthwatering sherbet colors work softly with each other to create a feel that at the same time both look backward and forwards, bringing with their soft tones both familiarity and excitement. Wine, peach, and coral is a combination of colors that work together and create surprising harmony due to the surprising tones that they share deep within their petals. Pink is a garden classic. This shade resonates in the memory. Soft and pretty, elegant, a color that stops us in our tracks. Green & White: Green and white is the freshness of morning light, the elegance of midday light, and the serenity of the light in the evening. A gentle palette that is timeless in its appeal.   This book is 388-pages of 100 different palette options for your garden, along with beautifully inspiring images, plant selections, and Jo's personal design preferences and tips. You can get a copy of The Gardener's Palette by Jo Thompson and support the show using the Amazon link in today's show notes for around $40.   Botanic Spark 1907 Birth of Robert Heinlein, American science-fiction writer. Robert is remembered for his classic book, Stranger in a Strange Land (1961). Robert wrote many wonderful euphemisms, like this humorous quote, Women and cats will do as they please, and men and dogs should relax and get used to the idea.   But Robert also appreciated the power and beauty of nature. In Time Enough for Love (1979), Robert wrote, Money is a powerful aphrodisiac. But flowers work almost as well.   In The Cat Who Walks Through Walls (1988), Robert wrote, “Butterflies are not insects," Captain John Sterling said soberly. "They are self-propelled flowers."   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.

We conclude our month of discussions about Soviet Cinema with a double feature from Kira Muratova, Brief Encounters from 1967 and The Long Farewell from 1971. Brief Encounters got a very limited release while The Long Farewell was shelved before release. Both films finally got their day in the sun as the Cold War began to thaw.In Brief Encounters, two women are in love with the same man. The film has a real New Wave feel to it with a fractured timeline and rough production. In The Long Farewell we see a mother, Yevgeniya, become more and more estranged from her son after he spends a summer with his father.Jane Taubman joins us to discuss Muratova's work while Gianna D'Emilio and Alistair Pitts provide insight on these challenging films.

We conclude our month of discussions about Soviet Cinema with a double feature from Kira Muratova, Brief Encounters from 1967 and The Long Farewell from 1971. Brief Encounters got a very limited release while The Long Farewell was shelved before release. Both films finally got their day in the sun as the Cold War began to thaw.In Brief Encounters, two women are in love with the same man. The film has a real New Wave feel to it with a fractured timeline and rough production. In The Long Farewell we see a mother, Yevgeniya, become more and more estranged from her son after he spends a summer with his father.Jane Taubman joins us to discuss Muratova's work while Gianna D'Emilio and Alistair Pitts provide insight on these challenging films.

We continue our month of discussing Soviet Cinema with a look at Three Poplars on Plyuschikha Street. It's the story of Nyura, a country woman who comes to the big city of Moscow to see her sister in law. There she meets Sasha, a taxi driver. They share stories and a song on the way to Plyuschikha Street. He offers to take her to the movies and she agrees but things go wrong. Gianna D'Emilio and Alistair Pitts join Mike to discuss this heart-breaking film.

We continue our month of discussing Soviet Cinema with a look at Three Poplars on Plyuschikha Street. It's the story of Nyura, a country woman who comes to the big city of Moscow to see her sister in law. There she meets Sasha, a taxi driver. They share stories and a song on the way to Plyuschikha Street. He offers to take her to the movies and she agrees but things go wrong. Gianna D'Emilio and Alistair Pitts join Mike to discuss this heart-breaking film.

We continue our month of discussing Soviet Cinema with a look at Elem Klimov's Welcome, or No Trespassing (1964). It's the story of a group of kids at a summer camp where one boy, Kostja Inockin (Viktor Kosykh), breaks from the pack and swims a little too far. He's immediately expelled by Director Dynin (Evgeniy Evstigneev) but later Inockin returns. Alistair Pitts and Gianna D'Emilio join Mike to discuss this fast-paced, whimsical political allegory.

We continue our month of discussing Soviet Cinema with a look at Elem Klimov's Welcome, or No Trespassing (1964). It's the story of a group of kids at a summer camp where one boy, Kostja Inockin (Viktor Kosykh), breaks from the pack and swims a little too far. He's immediately expelled by Director Dynin (Evgeniy Evstigneev) but later Inockin returns. Alistair Pitts and Gianna D'Emilio join Mike to discuss this fast-paced, whimsical political allegory.

Segei Eisenstein's film Battleship Potemkin is often hailed as one of the best films ever made. It tells the story (based on a real-life incident) of the crew of a Russian battleship mutinying in 1905, leading to a bloody confrontation in the streets of Odessa.CinePunked gather to assess its value to a modern audience and pick apart the propeganda from the truth.

CinePunked's Robert JE Simpson is joined by Dr Paula Blair for a conversation around their responses to the experience of influential, Ukranian-born, avant garde filmmaker Maya Deren, with particular attention to her debut Meshes of the Afternoon, and At Land.

On this episode, Marko Dumančić joins Lera and Cullan to talk about his recently published monograph entitled Men Out of Focus: The Soviet Masculinity Crisis in the Long Sixties wherein he unpacks the changing conceptions of men in post-Stalinist society by taking a deeper look at Soviet films made at the time. This is a fun conversation, riddled with film talk. We hope you enjoy! ABOUT THE GUEST https://cseees.unc.edu/wp-content/uploads/sites/282/2018/10/fullsizeoutput_d03.jpeg Marko Dumančić is an associate professor at Western Kentucky University's History Department. He works on a range of topics involving gender and sexual identity in the Soviet Union during the Cold War and in former Yugoslavia during the 1980s and 1990s. His first monograph, Men out of Focus: The Soviet Masculinity Crisis in the Long Sixties, examines the causes undergirding changing conceptions of masculinity in post-Stalinist society. His current research looks at the concept of genocidal masculinities in Bosnia during the 1990s and seeks to determine the motivations of soldiers who committed wartime human rights abuses. His work has appeared in Journal of Cold War Studies, Cold War History, Studies in Russian and Soviet Cinema, and The Cambridge History of Communism. You can find Men Out of Focus here (https://www.amazon.com/Dumancic-Men-Focus-Marko-Duman%C4%8Di%C4%87/dp/1487505256/ref=sr_1_1?dchild=1&keywords=men+out+of+focus&qid=1633818233&sr=8-1). https://mail.google.com/mail/u/1?ui=2&ik=7aed11d76b&attid=0.0.1&permmsgid=msg-f:1710259909750369228&th=17bc10539a432bcc&view=fimg&sz=s0-l75-ft&attbid=ANGjdJ9DZ0Rg0n1tFqBOc6RIaSotw-x0zPMJD_cYgVv1_EdhP6GIyvTH_6EN9GPHwC3VfNFXRhLZEpMumZTG-sVmQRg2-DWM7Fj_4fgOb-f4-8epLnCQMaV0ULD7zBw&disp=emb PRODUCER'S NOTE: This episode was recorded on June 15th, 2021 via Zoom. To reach us via email, send a message to slavxradio@utexas.edu if you have questions, suggestions, or would like to be a guest on the show! CREDITS Co-Producer: Lera Toropin (@earlportion) Co-Producer: Cullan Bendig (@cullanwithana) Associate Producer: Zach Johnson Assistant Producer: Sergio Glajar Assistant Producer: Misha Simanovskyy Associate Producer/Administrator: Kathryn Yegorov-Crate Executive Assistant: Katherine Birch Recording, Editing, and Sound Design: Michelle Daniel Music Producer: Charlie Harper (Connect: facebook.com/charlie.harper.1485 Instagram: @charlieharpermusic) www.charlieharpermusic.com (Main Theme by Charlie Harper and additional background music by Charlie Harper, Ketsa, Scott Holmes) Additional sound effects and clips from movies referenced in the episode come from YouTube. Executive Producer & Creator: Michelle Daniel (Connect: facebook.com/mdanielgeraci Instagram: @michelledaniel86) www.msdaniel.com DISCLAIMER: Texas Podcast Network is brought to you by The University of Texas at Austin. Podcasts are produced by faculty members and staffers at UT Austin who work with University Communications to craft content that adheres to journalistic best practices. The University of Texas at Austin offers these podcasts at no charge. Podcasts appearing on the network and this webpage represent the views of the hosts, not of The University of Texas at Austin. https://files.fireside.fm/file/fireside-uploads/images/9/9a59b135-7876-4254-b600-3839b3aa3ab1/P1EKcswq.png Special Guest: Marko Dumančić.

THE COLOR OF POMEGRANATES - SEXUAL FRUSTRATION IS COMING OUT OF THEIR MOUTHS! In an abandoned underground city at the Spanish coast, near Malaga, I found a USB stick containing 300 random movies from arthouse to weird, from obscure to notorious. Now, in Lockdown, it is time to watch and discuss them all in an international podcast project. Two Turks and a German, two filmmakers and a mystery man - Welcome to Mysterium Pictorum! In our first episode, we tackle The Color Of Pomegranates by Sergei Parajanov. In this context, we discuss Soviet Cinema, Armenian culture, arthouse films, drugs to take while watching weird movies (some say ketamine, some say mushrooms - it's controversial), the poet Sayat Nova, the internet scam that is Uniplaces, monks, pomegranates, orgies with nuns and many more delightful topics! Listen, review & subscribe, if you like! We love you!

Part 1: Zach, Michael, Jessica and Andrew discuss movies they saw this week, including: Yes God Yes, She Dies Tomorrow and Black is King.Part 2 (42:25): The group continues their Young Critics Watch Old Movies series with 1979's Stalker.See movies discussed in this episode here.Also follow us on:FacebookTwitterLetterboxdSpotifyStitcher RadioRadio Public

Barney Greenway the guttural vocalist of Napalm Death, Benediction and Extreme Noise Terror sits down with Robert to discuss Soviet Cinema, the world and of course the new Napalm Death album Throes of Joy in the Jaws of Defeatism out September 18, 2020 through Century Media.   Intro by: The Smalls Outro by: Zak Pashak and Chrome Chomsky

The first of our episodes in partnership with the BFI’s Blockbuster season on Musicals finds us discussing our relationship to the genre and its descendants as well as responding to a series of interviews conducted by Neil over the last couple of months. Guests on this special episode are the critic/historian Pamela Hutchinson who gives a brilliant overview of the musical form and suggests some gems to look out for, writer Tom MacRae who talks about the process of adapting his own West End smash Everybody’s Talking About Jamie for the screen, and Justine Waddell from Kino Klassika, an amazing organisation bringing Russian and Soviet Cinema to the screen, talks about their stunning programme of Soviet Musicals touring cinemas from January 2020. To really celebrate the Movie Musical, this episode features a plethora of musical delights. You will be hearing (in order) – Leonard Bernstein’s overture from West Side Story, Have Yourself A Merry Little Christmas sung by Judy Garland, from Meet Me In St. Louis, Elvis Presley singing Trouble, from King Creole, the official trailer for the West End musical Everybody’s Talking About Jamie, the title song from Leto (Summer), Bradley Cooper & Lady Gaga singing Shallow, from A Star Is Born, and Science Fiction Double Feature from The Rocky Horror Picture Show, sung by Richard O’Brien.  Thanks to Annabel Grundy and the team at BFI National Seasons for the opportunity and support. You can also listen to The Cinematologists here: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Our Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect. Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era. In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags. We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha. We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England. Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor's, The Moscow Times, and Russian Life. She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door: Marriage, Martinis, and Mayhem in Moscow. Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever wondered where the montage came from? Do you enjoy hearing Ethan plug theatre in an episode about cinema? Do you never tire of hearing Justin defend Stalin even when he clearly did some things wrong? Then you will LOVE this raucous and informative episode on the history of film and cinema within the Soviet Union (and a bit before)!   *CORRECTION* While Prussia was a principality in the HRE, Prussia was never part of the Austro-Hungarian Empire. Our bad! If you haven't already, you can help the show improve over at www.patreon.com/prolespod and in return can get sweet pins, access to our spicy discord, exclusive episodes, pick your own, guest appearances! All kinds of great stuff.   Please subscribe on your favorite podcast apps and rate or review to help extend our reach. Like and rate our facebook page at facebook.com/prolespod  and follow us on Twitter @prolespod.   If you have any questions or comments, DM us on either of those platforms or email us at prolespod@gmail.com All episodes prior to episode 4 can be found on YouTube, so go check that out as well!  Outro Music: "At Dawn" by Alyens Sources/Suggested Reading/Viewing: Further reading: Kino: A History of the Russian and Soviet Film, Jay Leyda The Red Screen: Politics, Society, Art in Soviet Cinema, ed. Anna Lawton Ways of Seeing, John Berger Directory of World Cinema: Russia, Birgit Beumers Film viewing: Battleship Potemkin, Sergei Eisenstein (1925) Man With A Movie Camera, Dziga Vertov (1929) October: Ten Day That Shook The World, Sergei Eisenstein (1928) Volga-Volga, Grigori Aleksandrov (1938) Solaris, Andrei Tarkovsky (1972) Moscow Doesn't Believe In Tears, Vladimir Menshov (1980)

Dr Karen Pearlman is a renowned filmmaker, film writer and dancer. She specialises in editing, and is a lecturer of screen production at Macquarie University. Her short film AFTER THE FACTS is a hybrid documentary about Esther Shub, an uncredited female editor who is noted for greatly contributing to the foundation of montage editing. AFTER THE FACTS is about the unnamed, sidelined female editors who played a huge role in creating modern day editing. We talk to her about her film AFTER THE FACTS, Soviet Russia in the 1920s, how holding film can create new ideas, and of course M.I.A and Björk.

Greetings, Comrades! Hello from Sweden, where I'm currently visiting PDXCon. But I just couldn't leave you without an episode, now could I? So, this is why I recorded one before leaving the town. It's all about Soviet Cinema – but, as it turns out, as there is just a ridiculous amount of stuff to talk about in this subject, I turned this into a Stalin series episode. It's about the early, really really good movies of Eizenstein, what they meant, and how Stalin made things a lot worse with micromanagement. Serious micromanagement. Enjoy! Support this show http://supporter.acast.com/theeasternborder. See acast.com/privacy for privacy and opt-out information.

We discover a new side of Soviet Cinema this week with the legendary Andrei Tarkovsky. Who is he? How did he get started? What are some of his theories on filmmaking? Find out all of that and more! We else go in depth into the two films focusing on themes and imagery! Music: Nihilore - "Life, Death and After" and "The Dimensionless Sphere" http://www.nihilore.com/ --- Support this podcast: https://anchor.fm/btbfilms/support

Matthew Sweet reflects on the impact of the Russian Revolution and music for Soviet film as part of the "Breaking Free" season, with scores for Battleship Potemkin, Alexander Nevsky, War and Peace, and The New Babylon. Lenin declared "that of all the arts the important for us is the cinema" recognising the propaganda potential that it offered and means of spreading the message of Bolshevism across Russia. His enthusiasm for cinema prompted a surge of inventive film making that has given the world some of its most discussed and influential cinema, featuring scores from some of the leading composers of the day. Matthew charts Soviet Cinema through its music, from Eisenstein to Tarkovsky, with scores by Dmitri Shostakovich, Sergei Prokofiev, Edmund Meisel, Vyacheslav Ovchinnikov and Eduard Artemiev, among others.

"The greatest documentary of all time"? Michael Nyman, Alexei Popogrebsky, Ian Christie and Larushka Ivan-Zadeh join Matthew Sweet to discuss Dziga Vertov's 1929 film, Man with a Movie Camera, which was voted top of a poll conducted by Sight and Sound Magazine. Vertov's film is a kind of cinematic symphony of urban life in the Soviet Union. It fizzes with ideas and is the embodiment of the notion that cinema can promote revolutionary consciousness. For some its an achievement to set along side the films of Eisenstein. Both could lay claim to being the greatest film maker of their time and their friendship ended in rivalry. Man with a Movie Camera counts amongst its admirers the novelist, Salman Rushdie and the enfant terrible of the French New Wave, Jean-Luc Godard.Michael Nyman has composed scores for the three major films that the pioneering Soviet filmmaker Dziga Vertov made in the late 1920s and is now working on an opera about Vertov. Ian Christie is Professor of Film and Media History at Birkbeck University London. He is co-editor, with Richard Taylor, of The Film Factory: Russian and Soviet Cinema in Documents 1896-1939 and Eisenstein rediscovered. Larushka Ivan-Zadeh is chief film critic for the Metro newspaper. Alexei Popogrebsky is a film director and screenwriter whose work includes How I Ended this Summer and Prostye veshchi. Plus, on the website you can find Salman Rushdie's comments about watching the film. Part of Radio 3's Breaking Free: A Century of Russian Culture Producer: Zahid Warley

Bird talks about filmic and cinematic aspects of cosmism will also consider later engagements with modeling in Soviet cybernetics, semiotics, and installation art (e.g. Francisco Infante-Arana and Il’ia Kabakov) German translation

Art without death: Russian Cosmism Lecture, Sep 2, 2017 Original version

On this month's WHM Mail Bag, the guys once again welcome Hooked on T.J. Hooker's Ben Worcester to read letters covering such family-friendly topics as insane dads with remote control control issues, friends wasting time in an ex-soviet movie theater, a creepy-as-hell male teacher terrorizing an all-girl private school, and one dude who needs to clean his car out way more often. PLUS: Eric gets denied a "Jay Walking" appearance!If you want your weird stories read on the air, or if you have questions for the gang, write in to the WHM Mail Bag: weallhatemovies@gmail.com! Be sure to get your emails in now, gang. We're doing a Mail Bag for July and then taking August off! Don't wait! Write now!

Fifty years of Holocaust screenplays and films -largely unknown, killed by censors, and buried in dusty archives – come to life in Olga Gershenson‘s The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe (Rutgers UP, 2013). As she ventures across three continents to uncover the stories behind these films, we follow... Learn more about your ad choices. Visit megaphone.fm/adchoices

Fifty years of Holocaust screenplays and films -largely unknown, killed by censors, and buried in dusty archives – come to life in Olga Gershenson‘s The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe (Rutgers University Press, 2013). As she ventures across three continents to uncover the stories behind these films, we follow her adventures, eager to learn what happened, why, when – and what comes next. This page-turning exploration begins with the first-ever films made about the Nazi threat to Jewish life in the 1930s – artistically successful movies released to crowded theaters in the USSR, Europe, and the US. The power of film being what it is, some 1930s viewers learned the lesson of Nazi hatred and fled to safety when Germany invaded the USSR in 1941. Immediately after the war, Soviet filmmakers again broke new ground when in 1945 they portrayed the Holocaust in “The Unvanquished.” The war just over, Soviet censors, Gershenson discovered, had no set policy and hardly knew how Stalin wanted them to respond. But the respected filmmaker Sergei Eisenstein supported the film, a movie featuring Jewish victims filmed on site in Kiev; it became one of the few Soviet movies that identified the Holocaust with Jews. Thereafter, the Holocaust would be a universal problem sans Jews that occurred anywhere but in the USSR. Among the stories that Gershenson relates, she raises the curtain on “Ordinary Fascism,” a blockbuster when it was released in the USSR in 1966.  The three-hour black-and-white documentary montage, narrated by its famous director Mikhail Romm, apparently drew 20 million Soviets to cinemas before it was withdrawn. Gershenson describes Ordinary Fascism as “a real breakthrough,” “stunning,” and an explosion.” Romm’s irreverent, casual commentary to Nazi newsreels, footage, photos, and art explored the psychology of Nazism – and, viewers recognized, made Soviets reflect on themselves. Why did Soviet censors refuse to permit a book on the subject to be released? Censors explained that a film would be seen once and forgotten. A book, on the other hand, would start people thinking! As Gershenson explains: “Half of all Holocaust victims…were killed on Soviet soil, mostly in swift machine-gun executions. And yet, watching popular Holocaust movies…the impression is that Holocaust victims were mainly Polish and German Jews killed in concentration camps.”  Her stories explain why Soviet filmmakers almost never shared the Soviet Holocaust experience on the screen. Gershenson’s book has a partner website. Here you can find video clips of featured films, with subtitles. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fifty years of Holocaust screenplays and films -largely unknown, killed by censors, and buried in dusty archives – come to life in Olga Gershenson‘s The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe (Rutgers University Press, 2013). As she ventures across three continents to uncover the stories behind these films, we... Learn more about your ad choices. Visit megaphone.fm/adchoices

Fifty years of Holocaust screenplays and films -largely unknown, killed by censors, and buried in dusty archives – come to life in Olga Gershenson‘s The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe (Rutgers University Press, 2013). As she ventures across three continents to uncover the stories behind these films, we follow her adventures, eager to learn what happened, why, when – and what comes next. This page-turning exploration begins with the first-ever films made about the Nazi threat to Jewish life in the 1930s – artistically successful movies released to crowded theaters in the USSR, Europe, and the US. The power of film being what it is, some 1930s viewers learned the lesson of Nazi hatred and fled to safety when Germany invaded the USSR in 1941. Immediately after the war, Soviet filmmakers again broke new ground when in 1945 they portrayed the Holocaust in “The Unvanquished.” The war just over, Soviet censors, Gershenson discovered, had no set policy and hardly knew how Stalin wanted them to respond. But the respected filmmaker Sergei Eisenstein supported the film, a movie featuring Jewish victims filmed on site in Kiev; it became one of the few Soviet movies that identified the Holocaust with Jews. Thereafter, the Holocaust would be a universal problem sans Jews that occurred anywhere but in the USSR. Among the stories that Gershenson relates, she raises the curtain on “Ordinary Fascism,” a blockbuster when it was released in the USSR in 1966.  The three-hour black-and-white documentary montage, narrated by its famous director Mikhail Romm, apparently drew 20 million Soviets to cinemas before it was withdrawn. Gershenson describes Ordinary Fascism as “a real breakthrough,” “stunning,” and an explosion.” Romm’s irreverent, casual commentary to Nazi newsreels, footage, photos, and art explored the psychology of Nazism – and, viewers recognized, made Soviets reflect on themselves. Why did Soviet censors refuse to permit a book on the subject to be released? Censors explained that a film would be seen once and forgotten. A book, on the other hand, would start people thinking! As Gershenson explains: “Half of all Holocaust victims…were killed on Soviet soil, mostly in swift machine-gun executions. And yet, watching popular Holocaust movies…the impression is that Holocaust victims were mainly Polish and German Jews killed in concentration camps.”  Her stories explain why Soviet filmmakers almost never shared the Soviet Holocaust experience on the screen. Gershenson’s book has a partner website. Here you can find video clips of featured films, with subtitles. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fifty years of Holocaust screenplays and films -largely unknown, killed by censors, and buried in dusty archives – come to life in Olga Gershenson‘s The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe (Rutgers University Press, 2013). As she ventures across three continents to uncover the stories behind these films, we follow her adventures, eager to learn what happened, why, when – and what comes next. This page-turning exploration begins with the first-ever films made about the Nazi threat to Jewish life in the 1930s – artistically successful movies released to crowded theaters in the USSR, Europe, and the US. The power of film being what it is, some 1930s viewers learned the lesson of Nazi hatred and fled to safety when Germany invaded the USSR in 1941. Immediately after the war, Soviet filmmakers again broke new ground when in 1945 they portrayed the Holocaust in “The Unvanquished.” The war just over, Soviet censors, Gershenson discovered, had no set policy and hardly knew how Stalin wanted them to respond. But the respected filmmaker Sergei Eisenstein supported the film, a movie featuring Jewish victims filmed on site in Kiev; it became one of the few Soviet movies that identified the Holocaust with Jews. Thereafter, the Holocaust would be a universal problem sans Jews that occurred anywhere but in the USSR. Among the stories that Gershenson relates, she raises the curtain on “Ordinary Fascism,” a blockbuster when it was released in the USSR in 1966.  The three-hour black-and-white documentary montage, narrated by its famous director Mikhail Romm, apparently drew 20 million Soviets to cinemas before it was withdrawn. Gershenson describes Ordinary Fascism as “a real breakthrough,” “stunning,” and an explosion.” Romm’s irreverent, casual commentary to Nazi newsreels, footage, photos, and art explored the psychology of Nazism – and, viewers recognized, made Soviets reflect on themselves. Why did Soviet censors refuse to permit a book on the subject to be released? Censors explained that a film would be seen once and forgotten. A book, on the other hand, would start people thinking! As Gershenson explains: “Half of all Holocaust victims…were killed on Soviet soil, mostly in swift machine-gun executions. And yet, watching popular Holocaust movies…the impression is that Holocaust victims were mainly Polish and German Jews killed in concentration camps.”  Her stories explain why Soviet filmmakers almost never shared the Soviet Holocaust experience on the screen. Gershenson’s book has a partner website. Here you can find video clips of featured films, with subtitles. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fifty years of Holocaust screenplays and films -largely unknown, killed by censors, and buried in dusty archives – come to life in Olga Gershenson‘s The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe (Rutgers University Press, 2013). As she ventures across three continents to uncover the stories behind these films, we follow her adventures, eager to learn what happened, why, when – and what comes next. This page-turning exploration begins with the first-ever films made about the Nazi threat to Jewish life in the 1930s – artistically successful movies released to crowded theaters in the USSR, Europe, and the US. The power of film being what it is, some 1930s viewers learned the lesson of Nazi hatred and fled to safety when Germany invaded the USSR in 1941. Immediately after the war, Soviet filmmakers again broke new ground when in 1945 they portrayed the Holocaust in “The Unvanquished.” The war just over, Soviet censors, Gershenson discovered, had no set policy and hardly knew how Stalin wanted them to respond. But the respected filmmaker Sergei Eisenstein supported the film, a movie featuring Jewish victims filmed on site in Kiev; it became one of the few Soviet movies that identified the Holocaust with Jews. Thereafter, the Holocaust would be a universal problem sans Jews that occurred anywhere but in the USSR. Among the stories that Gershenson relates, she raises the curtain on “Ordinary Fascism,” a blockbuster when it was released in the USSR in 1966.  The three-hour black-and-white documentary montage, narrated by its famous director Mikhail Romm, apparently drew 20 million Soviets to cinemas before it was withdrawn. Gershenson describes Ordinary Fascism as “a real breakthrough,” “stunning,” and an explosion.” Romm’s irreverent, casual commentary to Nazi newsreels, footage, photos, and art explored the psychology of Nazism – and, viewers recognized, made Soviets reflect on themselves. Why did Soviet censors refuse to permit a book on the subject to be released? Censors explained that a film would be seen once and forgotten. A book, on the other hand, would start people thinking! As Gershenson explains: “Half of all Holocaust victims…were killed on Soviet soil, mostly in swift machine-gun executions. And yet, watching popular Holocaust movies…the impression is that Holocaust victims were mainly Polish and German Jews killed in concentration camps.”  Her stories explain why Soviet filmmakers almost never shared the Soviet Holocaust experience on the screen. Gershenson’s book has a partner website. Here you can find video clips of featured films, with subtitles. Learn more about your ad choices. Visit megaphone.fm/adchoices