95 Works

Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 4 (2017)

Media Apparatus. Film
Notes on Sincerity in the Russian New Wave Cinema of the 2010s Renate Hansen-Kokoruš (ed.): Facing the Present. Transition in Post-Yugoslavia. The Artists' View К вопросу об источниках сюжета романа Двенадцать стульев Jeffrey Geiger and Karin Littau (eds.): Cinematicity in Media History Steven S. Lee: The Ethnic Avant-Garde. Minority Culture and World Revolution Кино, цензура и власть в Петербурге-Петрограде 1890-1910-х годов Gelencsér Gábor: Forgatott könyvek. A magyar film és az irodalom kapcsolata 1945 és 1995...

Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 2-3 (2016): Ghetto Films and their Afterlife

Media Apparatus. Film
International Colloquium Soviet War Propaganda on the Movie Screen, 1939–1946 / La propagande de guerre soviétique à l’écran, 1939­-1946 Surveillance. Secret Police Film Festival. Eugénie Zvonkine: Kira Mouratova. Un cinéma de la dissonance The Posthumous Life of Nazi Propaganda. Postwar Films on the Warsaw Ghetto 56th Thessaloniki International Film Festival. Balkan Survey Section. Krystyna Wanatowiczová: Miloš Havel - český filmový magnát “The Second Life” of the Theresienstadt Films after the Second World War Topografie terezínských...

Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 1 (2015)

Media Apparatus. Film
"Aparat" chy "dyspozytyv"? Notatky pro vyrobnytstvo obrazu i vyrobnytstvo subiekta v kino Propaganda in Motion. Dziga Vertov`s and Aleksandr Medvedkin`s Film Trains and Agit Steamers of the 1920s and 1930s Philip Cavendish: The Men with the Movie Camera. The Poetics of Visual Style in Soviet Avant-Garde Cinema of the 1920s Tanja Zimmermann: Der Balkan zwischen Ost und West. Mediale Bilder und kulturpolitische Prägungen Pussy Riot as the Trickstar Evgenii Margolit: Zhivye i mёrtvoe. Zametki k...

Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 5 (2017): Mise en geste. Studies of Gesture in Cinema and Art

Media Apparatus. Film
Tat’iana Dashkova: Telesnost’ – Ideologiia – Kinematograf: Visual’nyi kanon i sovetskaia povsednevnost’ Empty Gestures: Mimesis and Subjection in the Cinema of Yorgos Lanthimos Miranda Jakiša and Nikica Gilić (ed.): Partisans in Yugoslavia: Literature, Film and Visual Culture Nosferatu’s Gesture. Ciné-kinesis in the Silent Era, East and West Silence and Fog. On Gesture, Time, and Historicity in the Films of Aleksandr Sokurov Karl, Lars and Pavel Skopal (eds.): Cinema in Service of the State: Perspectives on...

Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 7 (2018): Women Cutting Movies: Editors from East and Central Europe

DiGZ. Digitalen Zugang Zu Wissen Demokratisch Gestalten E. V. In Cooperation With ZeM
The Zones of Twilight. Son of Saul and the Tradition of Holocaust Representation in Hungarian Full-Length Feature Films In the Fictional Shadow of Post-Production? The Silenced Creative Community and Gender Hyper(in)visibility Among Film Editors in Contemporary Russia Authoring from the Shadows: Creativity and the Film Archive in The Autobiography of Nicolae Ceaușescu Dijana Jelača: Dislocating Screen Memory. Narrating Trauma in Post-Yugoslav Cinema. Nikita Lary and Jay Leyda (eds.): The Alexander Medvedkin Reader Mario Slugan: Montage...

Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 6 (2018): Women at the Editing Table: Revising Soviet Film History of the 1920s and 1930s

DiGZ. Digitalen Zugang Zu Wissen Demokratisch Gestalten E. V. In Cooperation With ZeM
Anikó Imre: TV Socialism Vlad Strukov and Helena Goscilo (eds.): Russian Aviation, Space Flight, and Visual Culture Norbert P. Franz (ed.): Andrej Tarkovskij: Klassiker – Классик – Classic – Classico Mary Harrod, Mariana Liz, and Alissa Timoshkina (eds.): The Europeanness of European Cinema. Identity, Meaning, Globalization Michael Gott and Todd Herzog (ed.): East, West and Centre: Reframing Post-1989 European Cinema The Disappearing Theoretician: From Anna Li to A.N. Pudovkina Female editors in Russian Cinema: Vera...

Susanne Strätling: Die Hand am Werk: Poetik der Poiesis in der russischen Avantgarde.

Vera Kotelevskaia
Рецензия на книгу Сюзанны Штретлинг Die Hand am Werk: Poetik der Poiesis in der russischen Avantgarde.

Editorial: On Making the Work of Women Editors Visible

Adelheid Heftberger & Ana Grgic
The editorial article to the themed issue 7 Women Cutting Movies: Editors from East and Central Europe. Cover image from Jane Austen's Manuscript The Watsons (https://janeausten.ac.uk), cited in the article of Szilvia Ruszev Rhythmic Trajectories - Visualizing Cinematic Rhythm in Film Sequences.

The Future Will Be Different. Visions and Practices of Social Modernisation after 1918 - review of the exhibition and catalogue

Elżbieta Wysocka
The Future will be different. Visions and practices of social modernization after 1918 is the title of a new exhibition in the Zachęta. Once again, the National Film Archive - Audiovisual Institute (FINA), together with the Narodowe Archiwum Cyfrowe (NAC) are a co-organizers of the exhibition. The Second Republic of Poland is a compelling topic for analysis – both ideologically and politically. Over a short period of time, all modern ideas were focusing and intensifying...

Michael S. Gorham, Ingunn Lunde and Martin Paulsen (eds.): Digital Russia: The language, culture and politics of new media communication

Aivaras Zukauskas
Aivaras Žukauskas's Review of Michael S. Gorham's, Ingunn Lunde's and Martin Paulsen's edited book Digital Russia: The language, culture and politics of new media communication.

When Women Call the Cuts: the Marina Razbezhkina School of Documentary Film

Daria Shembel
Over the last decade, Russia has seen a significant upsurge in independent documentary film production. This phenomenon could be linked, on the one hand, to the Russian liberal opposition’s search for outlets of expression outside of state control, and, on the other hand, to the development of digital media environments that made it possible for independent documentaries to become a powerful rival to omnipresent state-run media. Marking its ten-year anniversary in 2018, the Marina Razbezhkina...

Radojka Tanhofer, Croatia’s Pioneering Film Editor

Jelena Modrić
This paper focuses on the editing career of Radojka Tanhofer, which can be divided into two main phases. The first covers Tanhofer’s years in editing (1940s - 1960s), learning and honing her craft, her work in numerous feature films with a number of domestic and international directors. The second covers her teaching at the Academy of Dramatic Art in Zagreb, Croatia (from the founding of the Editing Department as a two-year programme in 1969, until...

Filmed Documents. Methods in Researching Archival Films from the Holocaust

Efrat Komisar
Holocaust-related archival films document pre-war Jewish life and the fate of the Jews during the Second World War and, to some extent, during its aftermath as well. These materials – propaganda films, amateur films, documentary films – capture events at the time of their occurrence, and are therefore an invaluable historical source and should be treated as such. They contain many layers of information that must be examined. Comprehensive research is essential in determining the...

Historical exercises: Hungarian sports films as political commentary and historical memory

Terez Vincze
Political history is traditionally the most evident framework for interpreting post-WWII Hungarian cinema. The film production of the socialist era was influenced by the periodically changing, systematic presence of political expectations. The main context of perception and interpretation of films were conditioned politically. During the same period Hungarian sport successes played an important role in the international and domestic politics of the regime. The nature of political expectations might have changed after 1989 but, as...

Norbert P. Franz (ed.): Andrej Tarkovskij: Klassiker – Классик – Classic – Classico

Tatiana Astafeva
Tatiana Astafeva's review of Norbert P. Franz' edited volume Andrej Tarkovskij: Klassiker – Классик – Classic – Classico

Renate Hansen-Kokoruš (ed.): Facing the Present. Transition in Post-Yugoslavia. The Artists' View

Ava Mirković
Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 4 (2017)

Lucie Česálková (ed.): Staré pověsti české

Jana Rogoff
Jana Rogoff's review of a book Staré pověsti české edited by Lucie Česálková

Gelencsér Gábor: Forgatott könyvek. A magyar film és az irodalom kapcsolata 1945 és 1995 között

Adrián Bene
Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 4 (2017)

Editorial: The Ghetto as Holocaust Apparatus

Natascha Drubek
Table of contents image taken by Ivan Frič during the filming in summer 1944 in Theresienstadt. Courtesy Ivan Frič Archive, published on the DVD Truth and Lies 2013.

Surveillance. Secret Police Film Festival.

Andrea Pócsik
Andrea Pócsik's review of the Secret Police Film Festival.

Mary Harrod, Mariana Liz, and Alissa Timoshkina (eds.): The Europeanness of European Cinema. Identity, Meaning, Globalization

Pavel Skopal
Pavel Skopal's review of Mary Harrod, Mariana Liz and Alissa Timoshkina's edited volume The Europeanness of European Cinema. Identity, Meaning, Globalization

Multidirectional Sites of Memory in Italian Holocaust Documentaries

Maurizio Cinquegrani
This article investigates the ways in which film can use the act of witnessing and the exploration of significant locations in order to exhume memories of the deportation of Italian Jews to Auschwitz in 1943-1944. It aims at doing so by focusing on the neglected area of study provided by Italian documentaries about the Holocaust. In particular the article addresses two documentary films where testimonial performances and topographical investigation will be analysed by means of...

Image Politics. Ordinary Fascism – Contexts of Production and Reception

Sabine Hänsgen & Wolfgang Beilenhoff
Obyknovennyi fashizm / Ordinary Fascism (1965) is a Soviet film compiled from Nazi era film materials by Mikhail Romm together with Iurii Khaniutin and Maia Turovskaia. It was the first comprehensive attempt at a cinematic reflection on fascism and, implicitly, a post-Stalinist study of Soviet totalitarianism. As a key film of the 1960s it triggered a broad international debate that offers an insight into the discursive field of the political and ideological mirroring at the...

Vlad Strukov and Helena Goscilo (eds.): Russian Aviation, Space Flight, and Visual Culture

Alexander Schwarz
Alexander Schwarz' review of Vlad Strukov and Helena Goscilo's edited book Russian Aviation, Space Flight, and Visual Culture

Creative Editing: Svilova and Vertov’s Distributed Cognition

Karen Pearlman, John MacKay & John Sutton
The film editor Elizaveta Svilova (1900-1975), wife, and lifelong collaborator of the filmmaker Dziga Vertov (1896-1954), lingers to the side of scholarship on her famous husband’s films, hidden behind the historical neglect of both of women and of editors. This article addresses the silence surrounding Svilova by applying research in film history, cognitive philosophy, and creative practice to her montage filmmaking collaboration with Vertov. We aim to recuperate Svilova’s position as creative contributor to what...

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