his studio, in the summer of 1910. 7 He depicted his model half-sitting, half reclining on a bed, thus referencing her role in the ballet as harem concubine or odalisque. Already present in the work of François Boucher (1703-70), the motif of the odalisque was widespread in early nineteenth
The Manifold Iconographic Code in Valentin Serov’s Portrait of Ida Rubinstein (1910)
Part 1: Journals
Prewar Soviet Cinema
This new collection includes Soviet film magazines and newspapers from the 1920s and 1930s, reflecting the most interesting and fertile period in the history of Russian film. Film publications were revived in the early 1920s after being interrupted in 1918 by Bolshevik censorship. In the beginning, the film press offered detailed coverage of the industry, both in the USSR and abroad, in addition to advertising western films playing on Soviet screens. Films from the west were a source of great interest and made up a significant part of the Soviet film repertoire for many years. Both film and general publications of the period presented ongoing discussions of the prudence of showing western films in the Soviet Union. This discussion was concluded by the end of the 1920s with the introduction of a partial and eventually complete ban on imported films, marking the beginning of a campaign to "proletarize" Soviet art. The newspaper Kino began exposing class enemies, formalists and anyone guilty of introducing bourgeois influences into cinematography. The mass-distributed Sovetskii Ekran was turned into a didactic weekly paper. By the mid-1930s, ideological consensus and Socialist Realism as the dominant mode in art came to the fore in film, as in all other areas of Soviet art.
Film Periodicals from the 1920s and 1930s
Film periodicals from the 1920s and 1930s are a unique source for a variety of information on the history of Soviet cinematography, and the material has yet to be fully studied and appreciated by scholars. These publications are largely absent from book collections in the West, and are now presented for the first time as a large, complete set.
Film publications shed light on the production side of Soviet cinematography, as well as on the theoretical and practical concepts developed by the period's leading directors and critics. They also highlight the role of film in Soviet cultural life. Film magazines and newspapers featured articles by leading Soviet directors (Lev Kuleshov, Sergei Eisenstein, Dziga Vertov, Aleksandr Dovzhenko, Abram Room), as well as members of the avant-garde LEF, leading authors and philologists.
In addition to the immense academic value of the publications, several magazines in particular, such as Kino-Fot, were known for their graphic art, including Aleksandr Rodchenko's first creative experiments in graphic design.
Official in-house publications are of particular interest, especially Repertuarinyi Biuilleten' (1926-1930) and Repertuarnye Sborniki (1932-1942), which offer an inside view of film censorship. Each month these two periodicals printed annotated lists of films that were prohibited or allowed for screening, as well as instructions and other regulations governing Soviet cinematography. This set also includes a number of newspapers that covered day-to-day production at the studios and not well known by Russian and foreign scholars: Lenfilm's Kadr (1930-1941), Mosfilm's Bolshevistskii Fil'm (1932-1941), Mezhrabpom's Rot-Fil'm (1933-1936) and Kinofront (1935-1936), published by the Kazan film stock factory.
Rashit Yangirov, Moscow
The Philosophers and the Freudians
Anna Lisa Crone
James P. Scanlan, Professor Emeritus of Philosophy, The Ohio State University
series of large-scale theatrical productions that enlisted prominent visual artists, composers, and musicians. With the Ballets Russes now an elite commodity on the ballet stage and auction block, Diaghilev’s artistic ideas took root among the moderns. 1987 to the Present: Historicity and the End
Peter Rand and Anna Winestein
inestimable help of Lynn Garafola, and the participation of a great cast of international scholars, we were able to organize and present The Spirit of Diaghilev conference at Boston University. Now Lynn Garafola and John E. Bowlt have compiled and edited a commemoration of the conference that provides a
The Case of Viktor Popkov
-fashioned realism in the manner of Menzel” to wider horizons that included Hodler. 39 Despite the great exposure granted to Popkov within the Soviet pavilion, Italian critics failed to acknowledge the fundamental contribution of what we may call “severe romanticism.” By presenting a selected number of mostly
Reconsidering Mikhail Vrubel’s “Nativist” Aesthetics
, Vrubel’s aesthetic program had crossed multiple boundaries: geographical, temporal, material, and institutional. Accordingly, taking cue from Dmitry Sarabyanov’s pioneering publication, Russkoe iskusstvo mezhdu zapadom i vostokom [Russian Art Between the West and the East] (1997), the present article
Introduction The unique forms and beauty of Russian ornamentation have finally gained the general attention that it has long been denied. At the present moment, not only in Russia, where in both public museums and private collections special sections dedicated to Russian folk ornamentation
on Press Affairs Interior Ministry St. Petersburg Censorship Committee July 16, 1905 № 1216 On July 2 of this year, in [correspondence] № 7219, the Main Administration on Press Affairs requested that the St. Petersburg Censorship Committee present the necessary explanations concerning the
Lynn Garafola and John E. Bowlt
Acknowledgements This publication is a product of “The Spirit of Diaghilev”, a centenary conference which took place at Boston University from May 18th through May 21st, 2009. Organized and presented by the Ballets Russes Cultural Partnership, “The Spirit of Diaghilev”—part of the Ballets