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Full Product Details

Author:   Eleanor Rees ,  Birgit Beumers ,  Lilya Kaganovsky
Publisher:   Bloomsbury Publishing PLC
Imprint:   Bloomsbury Academic
Dimensions:   Width: 13.80cm , Height: 2.50cm , Length: 21.60cm
Weight:   0.454kg
ISBN:  

9781350246362

ISBN 10:   1350246360
Pages:   256
Publication Date:   12 January 2023
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

Introduction 1. The Early-Russian Production Artist: Design, Creativity and Technology I. Professional Backgrounds and Artistic Training II. Collaborative Partnerships and Studio Practices III. Roles and Responsibilities: From the Film Decorator to the Film Architect 2. The Rural Provinces I. The Russian Landscape and the Search for a Native Cinema II. Ethnographic Authenticity in late-Imperial Cinema III. Transforming the Rural Environment: The Enchantment of Infrastructure and Technology in early Soviet Cinema 3. The Domestic Interior I. The House as Entrapment: The Domestic Interiors of Boris Mikhin and Evgenii Bauer II. The House as Ornament: Objects and the Desiring Gaze in late-Imperial Cinema III. The House as Shelter: Material and Psychological Comfort in 1920s Soviet Cinema 4. The Workplace I. The Private Study in Evgenii Bauer’s Films: Individual Desire and Power Relations II. Fantasy and the Everyday Reality of Labour: Aelita (1924) and The Overcoat (1926) III. Cinematic Expressivity and Pleasure in the Industrial Workplace, from Engineer Prait’s Project (1918) to Golden Mountains (1931) 5. In the Studio and on the Stage I. The Painter’s Atelier II. Cinema Studios and Auditoriums III. The Circus Arena Conclusion Selected Bibliography Filmography Appendix

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Author Information

Eleanor Rees received her PhD in January 2020 from University College London (UCL), UK, and has a BA and MA in History of Art at the Courtauld Institute of Art, University of London, UK. Her doctoral research was funded by the Wolfson Foundation and the Design History Society. She has written ‘Comfort and the Domestic Interior in Early-Soviet Cinema of the 1920s’ in Pat Kirkham and Sarah Lichtman (eds), Interiors: Film and Television (Bloomsbury Academic, 2020).

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