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The Soviet Cine-Underground: Lenfil'm (the Leningrad State Film Studio) and the Transformation of Late Soviet Culture, 1956-1991

苏联地下电影：Lenfilm（列宁格勒国家电影制片厂）和晚期苏联文化的转变，1956-1991

基本信息

批准号：
AH/M005682/1
负责人：
Catriona Kelly
金额：
$ 24.67万
依托单位：
University of Oxford
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2015
资助国家：
英国
起止时间：
2015 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FM005682%2F1
关键词：
Soviet Cine Underground Lenfil Leningrad

项目摘要

Soviet cinema rightly has a world-wide reputation as one of the world's leading film traditions. It is above all, however, the works of the early Soviet period (early 1920s-late 1930s) that are familiar to non-specialists. Less well-known are the excellent films made in the late Soviet period; and particularly, not many discussions have dealt with the mechanisms of film production and reception. The project that I intend to research focuses on the post-Stalin decades, a period that saw perhaps the greatest flowering of the Leningrad State Film Studio, Lenfil'm. Its output was extremely varied, including, for instance, fantasy/science fiction (Amphibian Man, 1962), Cold War thrillers (Dead Season, 1968), a TV adaptation of Sherlock Holmes, Soviet romcoms (The Blonde Round the Corner, 1984, and Winter Cherries, 1985, with sequels dating from 1990 and 1995), family dramas (Blame Klava K. for my Death, 1979). Many of these films were among the most successful produced in the Soviet Union at the period, in terms of numbers of viewers and lasting appeal (all are now available on the Russian internet). Alongside this, Lenfil'm had a remarkable art film tradition, with directors such as Grigory Kozintsev, Il'ya Averbakh, Dinara Asanova, Aleksei German, Vitaly Mel'nikov and others creating a distinctive house style that - in the case of the younger directors - was characterised by its documentary feel paradoxically allied with a strong sense of self-conscious awareness of film as art. Frequently, films were shot so that the viewer was aware of the process by which the film was created; notable was Averbakh's The Voice (1982), whose central figure is an actress engaged in making a film, who herself appears in-shot with a still camera. Also striking, particularly in German's work, is creative scrutiny of the Soviet past, above all the Stalin era (Ivan Lapshin, 1984, and Khrustalyov, My Car, 1998). As the period when this extraordinary creativity took place recedes into the past, and with the future of the studio itself uncertain, it is important to collect documents, photographs, and oral history before they vanish for good. Research on Lenfil'm will also give a sense of the geographical spread of outstanding film production (commonly, work focuses on Moscow - as in the constant citation of Vladimir Mel'nikov's Moscow Doesn't Believe in Tears (1980), often presented as the most significant film produced immediately before glasnost). This study dedicated to one important aspect of late Soviet public art, drawing on oral history and archive work in, for example, the studio's own archives as well as state archives in St Petersburg and Moscow, will make a significant contribution to the understanding of change in so-called 'official' art forms at a period when some of what they produced could be as scandalous as actual 'underground' art. (Some films, such as Leave in September (1979) remained 'on the shelf' for years after they were produced.) Alongside this case study with broad implications, I intend to initiate a wide-ranging discussion of late socialist culture through the organisation of two international workshops in which leading scholars, especially younger scholars, who have done cutting-edge research on the last decades of Soviet power will be able to discuss key issues of social, cultural, and economic change in an imaginative yet focussed way. My position as President of the Association for the Advancement of Slavic, East European, and Eurasian Studies (the first not based at a US university) will allow me to showcase key debates on late Soviet culture at the ASEEES annual convention, where I plan to organise two panels. Seasons of films showing major masterpieces of Lenfil'm, which I hope to organise with the co-operation of the BFI and Russkyi Mir, will make this corpus of outstanding material available to the broader public, and help to strengthen the interest in the Soviet cinema of this era that is now starting to emerge

苏联电影作为世界领先的电影传统之一，在世界范围内享有盛誉。然而，非专业人士最熟悉的是苏联早期（20世纪20年代初至30年代末）的作品。不太为人所知的是苏联后期制作的优秀电影;特别是，没有多少讨论涉及电影制作和接受的机制。我打算研究的项目集中在后斯大林时代的几十年里，这一时期可能是列宁格勒国家电影制片厂Lenfil'm最辉煌的时期。它的作品种类繁多，包括幻想/科幻小说（1962年的《两栖人》）、冷战惊悚片（1968年的《死亡季节》）、电视改编的福尔摩斯、苏联浪漫喜剧（1984年的《金发女郎》和1985年的《冬天的樱桃》，以及1990年和1995年的续集）、家庭剧（《怪克拉瓦·K》）。《我的死亡》（1979）其中许多电影是当时苏联最成功的电影之一，就观众人数和持久吸引力而言（所有这些电影现在都可以在俄罗斯互联网上找到）。除此之外，Lenfil'm还有一个非凡的艺术电影传统，导演如Grigory Kozintsev，Il'ya Averbakh，Dinara Asanova，Aleksei German，Vitaly Mel'nikov和其他人创造了一种独特的风格-在年轻导演的情况下-其特点是其纪录片的感觉与电影作为艺术的强烈自我意识相结合。通常，电影的拍摄是为了让观众了解电影的创作过程;值得注意的是阿韦尔巴赫的《声音》（1982），其中心人物是一位从事电影制作的女演员，她自己也出现在镜头中。同样引人注目的是，特别是在德国的工作中，对苏联过去的创造性审查，首先是斯大林时代（Ivan Lapshin，1984年，和Khrustalyov，我的车，1998年）。随着这一非凡创造力发生的时期逐渐成为过去，工作室本身的未来也不确定，在它们永远消失之前收集文件、照片和口述历史是很重要的。对伦菲尔的研究还将使人们对优秀电影制作的地理分布有一种感觉（通常，工作集中在莫斯科-正如弗拉基米尔·梅尔尼科夫的《莫斯科不相信眼泪》（1980）经常被引用，这部电影通常被认为是在公开化之前制作的最重要的电影）。这项研究致力于苏联后期公共艺术的一个重要方面，利用口述历史和档案工作，例如，工作室自己的档案馆以及圣彼得堡和莫斯科的国家档案馆，将对理解所谓的“官方”艺术形式的变化做出重大贡献，因为他们所产生的一些东西可能与实际的“地下”艺术一样令人反感。（有些电影，如《九月休假》（1979）在制作后的几年里一直被“搁置”。除了这个具有广泛影响的案例研究，我打算通过两个国际研讨会的组织，其中领先的学者，特别是年轻的学者，谁做了对苏联权力的最后几十年的前沿研究，将能够讨论社会，文化和经济变革的关键问题，在一个富有想象力的，但集中的方式。我作为斯拉夫，东欧和欧亚研究促进协会主席（第一个不在美国大学）的职位将使我能够在ASEEES年会上展示关于苏联晚期文化的关键辩论，我计划在那里组织两个小组。我希望与BFI和俄罗斯米尔合作，组织放映伦菲尔主要杰作的电影季，这将使更广泛的公众能够获得这一优秀材料的语料库，并有助于加强对这个时代的苏联电影的兴趣，现在开始出现