Books in the KINO - The Russian and Soviet Cinema series

Soviet expedition films from between 1925-1940 are examined as early forms of documentaries with both ideological and educational agendas

The pioneering film director and theorist Sergei Eisenstein is known for the unequalled impact his films have had on the development of cinema. Less is known about his writings, which present a continent of ideas about film. This book presents an introduction to a key area of Eisenstein's thought: his ideas about the audiovisual in cinema.

Looks at Russian cinema of the 1990s, describing the currents and common interests of contemporary Russian cinema and studying the work of filmmakers such as Sokurov. A review of the industry in times of economic change is included, with an assessment of its function as a definer of Russia's new identity. In the KINO- THE RUSSIAN CINEMA series.

Based on extensive archival research, this book examines the interaction between politics and the Soviet cinema industry during the period between Stalin's rise to power and the beginning of the Great Patriotic War.

Pioneer of political documentary and inventor of cinema verite, Dziga Vertov has exerted a decisive influence on directors from Eisenstein to Godard. This book covers the whole of Vertov's career, reveals him to be an auteur, allowing readers to combine the familiar and less familiar aspects of his filmmaking and thinking in a cohesive narrative.

This volume on Vsevolod Pudovkin explores the style and production circumstances of his films and their reception, as well as his writings and theories, all within the Soviet political context.

This is an account of Soviet documentary output during the years between the "Great October Socialist Revolution" and the "Great Patriotic War". Graeme Roberts re-views the examples of Soviet, and world, non-fiction cinema, and uncovers many intriguing films.

Explores the phenomenon of spatio-temporal lapse in Tarkovsky's cinema - from Ivan's Childhood (1962) to Sacrifice (1986). Dreams, visions, mirages, memories, revelations, reveries and delusions are phenomena which present alternative spatio-temporal patterns; they disrupt the linear progression of events and create narrative discontinuity.

Cinema in Central Asia is the first comprehensive and up-to-date account of film in Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan from its origins to the present day.

This first introduction to Medvedkin's film-making career traces his process of developing a unique brand of cinematic satire throughout the period of the Soviet revolutionary experiment.