1. The “Thaw” and Cinema The Cranes Are Flying

2. After the Victory: Politics and Arts The victory of 1945: great expectations. The victory of 1945: great expectations. Suppression of the arts. Zhdanov’s resolution against “individualistic” and “bourgeois” writers (1946). Suppression of the arts. Zhdanov’s resolution against “individualistic” and “bourgeois” writers (1946). The “anti-formalist” campaign against composers (1948). The “anti-formalist” campaign against composers (1948). The “struggle against cosmopolitanism” and the “Doctors’ plot”. The “struggle against cosmopolitanism” and the “Doctors’ plot”. Film industry stultified, bureaucratized. Few films made. Film industry stultified, bureaucratized. Few films made.

3. The “Thaw” (1953-68) and its Consequences Stalin dies in 1953; Stalin dies in 1953; Khrushchev’s speechat the XXthParty Congress (1956): denunciation of “the cult of personality”; Khrushchev’s speechat the XXthParty Congress (1956): denunciation of “the cult of personality”; Stalin’s embalmed corpse removed from the Mausoleum (Lenin’s tomb); Stalin’s embalmed corpse removed from the Mausoleum (Lenin’s tomb); The city of Stalingrad named Volgograd; The city of Stalingrad named Volgograd; Peasants got passports; migration to cities; housing construction: low- end apartment blocks, khruschevkas; Peasants got passports; migration to cities; housing construction: low- end apartment blocks, khruschevkas; Post-secondary education boom; Post-secondary education boom; The country opens itself to the world: the 6 th World Festival of Youth and Students in 1957 (new music, style in arts, fashion; (almost) free exchange of information; the 60s generation emerges; The country opens itself to the world: the 6 th World Festival of Youth and Students in 1957 (new music, style in arts, fashion; (almost) free exchange of information; the 60s generation emerges; Scientific and technical achievements; the Sputnik and Gagarin’s flight Scientific and technical achievements; the Sputnik and Gagarin’s flight

4. Khrushchev (right) and Gagarin, first human to make a cosmic flight

5. The “Thaw” and Cinema The inflow of foreign films (trophy films, such as The Girl of my Dreams and Tarzan; French New Wave and Italian neorealism). The inflow of foreign films (trophy films, such as The Girl of my Dreams and Tarzan; French New Wave and Italian neorealism). The number of films produced per year rises from under 10 in early 1950s to 75 in 1956; The number of films produced per year rises from under 10 in early 1950s to 75 in 1956; Old masters achieve a new degree of freedom (i.e.,Abram Room, Mikhail Romm, GrigoriKozintsev); Old masters achieve a new degree of freedom (i.e.,Abram Room, Mikhail Romm, GrigoriKozintsev); Cinema studios in Soviet republics develop film production (both quantity and quality); Cinema studios in Soviet republics develop film production (both quantity and quality); New breed of directors takes over (“generation of lieutenants” and younger); New breed of directors takes over (“generation of lieutenants” and younger); Screen versions of Russian and international classics (i.e., Hamlet and King Lear by G.Kozintsev, The Lady with the Dog by IosifKheifits, etc.). Screen versions of Russian and international classics (i.e., Hamlet and King Lear by G.Kozintsev, The Lady with the Dog by IosifKheifits, etc.).

6. Hamlet (1964), King Lear (1970) by GrigoriKozintsev Hamlet (1964), King Lear (1970) by GrigoriKozintsev

7. The Lady with the Dog (1960)

8. The “Thaw” Cinema Films pushing ideological boundaries (i.e., GrigoriChukhrai’s The Forty-First, 1956: a human face of the “enemy,” love across ideological barrier). Films pushing ideological boundaries (i.e., GrigoriChukhrai’s The Forty-First, 1956: a human face of the “enemy,” love across ideological barrier).

9. Poetic films of young directors De-monumentalized cinema; human dimension; De-monumentalized cinema; human dimension; De-dramatization (influence of neo-realism and M.Antonioni); De-dramatization (influence of neo-realism and M.Antonioni); “Poetic cinema”: poetry of everyday life, youth, joy of living. Poetic aspect is more important than the events. “Poetic cinema”: poetry of everyday life, youth, joy of living. Poetic aspect is more important than the events. MarlenKhutsiev’sSpring on Zarechnaia Street (1956) and I Am Twenty/Ilyich’s Gate (1961, released few years later) – the embodiment of the Thaw; intelligentia’s concept of “socialism with a human face.” MarlenKhutsiev’sSpring on Zarechnaia Street (1956) and I Am Twenty/Ilyich’s Gate (1961, released few years later) – the embodiment of the Thaw; intelligentia’s concept of “socialism with a human face.” Reality as the primary object; quest for “cinematic truth”; everyday worries of young people; “New Wave” style. Reality as the primary object; quest for “cinematic truth”; everyday worries of young people; “New Wave” style.

10. I Am Twenty/Ilyich’s Gate (1961)

11. I Step Through Moscow Я шагаю по Москве (1963) Я шагаю по Москве Я шагаю по Москве Director: Georgi Danelia Starring: Nikita Mikhalkov Music: Andrei Petrov Poetry: Gennadii Shpalikov

12. I Step Through Moscow

13. Thriving Film Industry New beginnings in cinema: funds, cinemas built, film director (Ivan Pyriev) at head of industry. New beginnings in cinema: funds, cinemas built, film director (Ivan Pyriev) at head of industry. New themes: personal lives. Influence of Italian and French cinema. The war as one of recurrent themes. New themes: personal lives. Influence of Italian and French cinema. The war as one of recurrent themes. 1958 The Cranes Are Flying (Dir. Kalatozov, Mosfilm, 1957) wins Golden Palm (Palme d’Or) at Cannes. 1958 The Cranes Are Flying (Dir. Kalatozov, Mosfilm, 1957) wins Golden Palm (Palme d’Or) at Cannes. 1959 Ballad of a Soldier (Dir. GrigoryChukhrai, Mosfilm, 1959) nominated for Oscar. 1959 Ballad of a Soldier (Dir. GrigoryChukhrai, Mosfilm, 1959) nominated for Oscar.

14. TypicalTraits of War Film post 1953 Engagingnarrative line Engagingnarrative line Realism (truthfulness) of depiction Realism (truthfulness) of depiction Strong acting Strong acting Innovativecamera technique Innovativecamera technique Absence of irony, little satire Absence of irony, little satire Interweavingof humour and dramatic moments Interweavingof humour and dramatic moments

15. TypicalMotifs in War Film Contrastbetweenbattlef ront and rear Contrastbetweenbattlef ront and rear Ironicheroism of soldiers Ironicheroism of soldiers The good commandingofficer The good commandingofficer Corruption amongofficials in rear (party) Corruption amongofficials in rear (party) Faithfulnessof a soldier Faithfulnessof a soldier Unfaithfulnessof a womanleftbehind Unfaithfulnessof a womanleftbehind

16. Ideological content No mention of Stalin or communism No mention of Stalin or communism Simple moral system : good versus bad Simple moral system : good versus bad Enemyisfaceless Enemyisfaceless Heroismand endurance of Russian/Soviet people Heroismand endurance of Russian/Soviet people Solidarityof all peoples of Soviet Union and beyondagainstFascism Solidarityof all peoples of Soviet Union and beyondagainstFascism

17. The Cranes Are Flying Director Mikhail Kalatozov, 1957. Director Mikhail Kalatozov, 1957. Camera: Sergei Urusevsky Camera: Sergei Urusevsky Starring: Aleksei Batalov, Tatiana Samoilova Starring: Aleksei Batalov, Tatiana Samoilova Simple plot, complicated psychology. Simple plot, complicated psychology. Influence of the war on lives of individuals. Influence of the war on lives of individuals. The film does not condemn a “morally flawed” heroine: humanism and compassion. The film does not condemn a “morally flawed” heroine: humanism and compassion. Tragedy containing elements of humour and satire. Tragedy containing elements of humour and satire.

18. Composition (examples) The film starts as films usually end: blissful happiness of young sweethearts running towards the horizon. The line of the embankment on the screen points to the “future.” The film starts as films usually end: blissful happiness of young sweethearts running towards the horizon. The line of the embankment on the screen points to the “future.” Important dialogues take place on the embankment, but the line is cut short. Important dialogues take place on the embankment, but the line is cut short. The heroine carries a little boy, her perished lover’s namesake, along (another) embankment – the horizon opens again. The heroine carries a little boy, her perished lover’s namesake, along (another) embankment – the horizon opens again.

19. The Cranes Are Flying

23. Innovative Filming Technique Extensive use of handheld camera (“off-duty camera”) – frantic camera movements when the heroine, desperate, runs along the street (realism: Urusevsky, the cameraman, used to be a war correspondent). Extensive use of handheld camera (“off-duty camera”) – frantic camera movements when the heroine, desperate, runs along the street (realism: Urusevsky, the cameraman, used to be a war correspondent). Camera follows the heroine, without a cut, at eye level and then flies up to give a panorama. Speeds up – slows down. Camera follows the heroine, without a cut, at eye level and then flies up to give a panorama. Speeds up – slows down. Extreme close-ups. Eyes. Extreme close-ups. Eyes. The villain’s feet trampling the broken glass (Hitchock-like, sinister shots). The heroine’s face upside down (her life turns upside down). The villain’s feet trampling the broken glass (Hitchock-like, sinister shots). The heroine’s face upside down (her life turns upside down).

24. Innovative Filming Technique Lighting and sound. Ex.: Sounds of the fire in a crumbling building suddenly stop as the heroine goes into shock. The only sound interrupting the silence is ticking of the clock amidst the ruins. The heroine reads a letter hearing her lover’s voice, “irrelevant” music on the background: sharp emotional contrast. Lighting and sound. Ex.: Sounds of the fire in a crumbling building suddenly stop as the heroine goes into shock. The only sound interrupting the silence is ticking of the clock amidst the ruins. The heroine reads a letter hearing her lover’s voice, “irrelevant” music on the background: sharp emotional contrast. Blinking light during the scene of the rape. Blinking light during the scene of the rape. The heroine moves from light to shadow when she learns that her lover has died. The heroine moves from light to shadow when she learns that her lover has died.

25. Innovative Filming Technique The camera follows the heroine and we join her point of view, but then switches to the crowd to show she is just one of the many. The camera follows the heroine and we join her point of view, but then switches to the crowd to show she is just one of the many. Urusevsky invented circular rails for moving the camera. Urusevsky invented circular rails for moving the camera. The scene of the hero’s death involves constant rapid shifts of points of view (from “inside” – from the ground and from “outside” – from above). The scene of the hero’s death involves constant rapid shifts of points of view (from “inside” – from the ground and from “outside” – from above). The camera spins as he loses consciousness. Spinning trees. The camera spins as he loses consciousness. Spinning trees. The overlap of images renders the hero’s stream of consciousness (unexposed film used several times). The overlap of images renders the hero’s stream of consciousness (unexposed film used several times).

26. Innovative Filming Technique

27. The Ending Optimistic, even though the hero is dead: the villain is punished the villain is punished the heroine has a closure the heroine has a closure the war is over the war is over life goes on, new children are born life goes on, new children are born other young lovers will not have to part other young lovers will not have to part