Includes bibliographical references (p. -131) and index.
|Statement||by Nicholas Galichenko ; edited by Robert Allington.|
|Series||Texas film studies series|
|Contributions||Allington, Robert, 1945-|
|LC Classifications||PN1993.5.R9 G35 1991|
|The Physical Object|
|Pagination||x, 142 p. :|
|Number of Pages||142|
|ISBN 10||029272747X, 0292727534|
|LC Control Number||91000580|
Glasnost—Soviet Cinema Responds is the first overall survey of the effects of this revolution on the work of Soviet filmmakers and their films. The book is structured as a series of three essays and a filmography of the directors of glasnost : University of Texas Press. Glasnost--Soviet cinema responds. Austin: University of Texas Press, (OCoLC) Material Type: Government publication, State or province government publication: Document Type: Book: All Authors / Contributors: Nicholas Galichenko; Robert Allington. Glasnost-Soviet Cinema Responds is the first overall survey of the effects of this revolution on the work of Soviet filmmakers and their films. The book is structured as a series of three essays and a filmography of the directors of glasnost cinema. Buy Glasnost-Soviet Cinema Responds by Nicholas Galichenko, Robert Allington from Waterstones today! Click and Collect from your local Pages:
Glasnost: Soviet Cinema Responds. Ed. Robert Allington. Austin: U of Texas P, Geduld, Harry M. and Ronald Gottesman, eds. The Making and Unmaking of "Que Viva México!" Bloomington: Indiana University Press, Selective bibliography – Soviet Cinema. Glasnost, (Russian: “openness”) Soviet policy of open discussion of political and social issues. It was instituted by Mikhail Gorbachev in the late s and began the democratization of the Soviet Union. Ultimately, fundamental changes to the political structure of the Soviet Union occurred: the. The Christian Science Monitor is an international news organization that delivers thoughtful, global coverage via its website, weekly magazine, online daily edition, and email newsletters. With its naturalism and a foray into previously forbidden topics, Little Vera marked a watershed moment in Soviet cinema, for which it has been deservedly called “the first full-fledged product of New Model Soviet Cinema” and the “ground-zero” film of the s. 7 In its wake followed such hits as Pëtr Todorovskiy’s Interdevochka (Intergirl, ), a story about the lives of Soviet hard-currency .