was perhaps the most important work in this new wave, and
Ivan Efremov’s Andromeda (1957) was perhaps the most important work in this new wave, and
Ivan Efremov’s Andromeda (1957) was perhaps the most important work in this new wave, and
* It may be that the title of Zamyatin’s novel We was drawn at least in part from Dostoevsky
* It may be that the title of Zamyatin’s novel We was drawn at least in part from Dostoevsky
* It may be that the title of Zamyatin’s novel We was drawn at least in part from Dostoevsky
A Collection of Critical Essays
to the whole materialist philosophy of the Soviet regime. But he was not alone. Science
to the whole materialist philosophy of the Soviet regime. But he was not alone. Science
to the whole materialist philosophy of the Soviet regime. But he was not alone. Science
The science fiction novels of the Strugatsky brothers (Arkady and Boris) were subversive
The science fiction novels of the Strugatsky brothers (Arkady and Boris) were subversive
The science fiction novels of the Strugatsky brothers (Arkady and Boris) were subversive
Predatory Things of the Century
Science fiction films were equally a vehicle for challenging Soviet materialism. In Ro
Science fiction films were equally a vehicle for challenging Soviet materialism. In Ro
Science fiction films were equally a vehicle for challenging Soviet materialism. In Ro
have been researching the mysterious regenerative powers of a huge burning star. His
have been researching the mysterious regenerative powers of a huge burning star. His
have been researching the mysterious regenerative powers of a huge burning star. His
In his cinematic credo, Sculpting in Time (1986), Tarkovsky compares the artist to a pri
In his cinematic credo, Sculpting in Time (1986), Tarkovsky compares the artist to a pri
In his cinematic credo, Sculpting in Time (1986), Tarkovsky compares the artist to a pri
Tarkovsky said that Hermann Hesse’s line from The Glass Bead Game (1943) ‘could well have se
Tarkovsky said that Hermann Hesse’s line from The Glass Bead Game (1943) ‘could well have se
Tarkovsky said that Hermann Hesse’s line from The Glass Bead Game (1943) ‘could well have se
The same religious theme is at the centre of Stalker (1979), which, in Tarkovsky’s own desc
The same religious theme is at the centre of Stalker (1979), which, in Tarkovsky’s own desc
The same religious theme is at the centre of Stalker (1979), which, in Tarkovsky’s own desc
It may seem extraordinary that films like Stalker and Solaris were produced in the Brezh
It may seem extraordinary that films like Stalker and Solaris were produced in the Brezh
It may seem extraordinary that films like Stalker and Solaris were produced in the Brezh
Molodaia gvardiia (Young Guard),
30. ‘The Russian bouse inside the Italian cathedral’. Final shot from Andrei Tarkovsky’s
30. ‘The Russian bouse inside the Italian cathedral’. Final shot from Andrei Tarkovsky’s
30. ‘The Russian bouse inside the Italian cathedral’. Final shot from Andrei Tarkovsky’s
‘The Russian bouse inside the Italian cathedral’. Final shot from Andrei Tarkovsky’s
the support of the Party’s senior leadership throughout the 1970s.* Yet its cultural poli
the support of the Party’s senior leadership throughout the 1970s.* Yet its cultural poli
the support of the Party’s senior leadership throughout the 1970s.* Yet its cultural poli
* It had the political protection of Politburo member Mikhail Suslov, Brezhnev’s chie
* It had the political protection of Politburo member Mikhail Suslov, Brezhnev’s chie
* It had the political protection of Politburo member Mikhail Suslov, Brezhnev’s chie
the 1960s) and the dissident intelligentsia. Even Solzhenitsyn came to its defence when i
the 1960s) and the dissident intelligentsia. Even Solzhenitsyn came to its defence when i
the 1960s) and the dissident intelligentsia. Even Solzhenitsyn came to its defence when i
One Day in the Life of Ivan Denisovich
What, in the end, was ‘Soviet culture’? Was it anything? Can one ever say that there was a spe
What, in the end, was ‘Soviet culture’? Was it anything? Can one ever say that there was a spe
What, in the end, was ‘Soviet culture’? Was it anything? Can one ever say that there was a spe
The Georgian film director Otar loseliani recalls a conversation with the veteran fi
The Georgian film director Otar loseliani recalls a conversation with the veteran fi
The Georgian film director Otar loseliani recalls a conversation with the veteran fi
He asked me: ‘Who are you?’ I said, ‘A director’… ‘Soviet’, he corrected, ‘you must always
He asked me: ‘Who are you?’ I said, ‘A director’… ‘Soviet’, he corrected, ‘you must always
He asked me: ‘Who are you?’ I said, ‘A director’… ‘Soviet’, he corrected, ‘you must always
From beneath such ruins I speak,
From beneath such ruins I speak,
From beneath such ruins I speak,
From beneath such an avalanche I cry,
