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This category contains pages supported by the Soviet and post-Soviet cinema task force of WikiProject Film and WikiProject Soviet Union which have been rated as "Category-Class". Pages are automatically placed in this category by the relevant parameters in the {{ WikiProject Film }} project banner; please see the assessment department and the ...
This is the list of highest-grossing films in the Soviet Union, in terms of box office admissions (ticket sales). It includes the highest-grossing films in the Soviet Union (USSR), the highest-grossing domestic Soviet films, [1] the domestic films with the greatest number of ticket sales by year, [2] and the highest-grossing foreign films in the Soviet Union. [3]
Founded in 1924 in the USSR as a production unit of that nation's film monopoly, its output includes most of the more widely acclaimed Soviet-era films, ranging from works by Andrei Tarkovsky and Sergei Eisenstein, to Red Westerns, to the Akira Kurosawa co-production Dersu Uzala (Дерсу Узала) and War and Peace (Война и мир). [4]
Five–Year Plan for the Restoration and Development of Soviet Cinematography / Ivan Bolshakov, Minister of Cinematography of the Soviet Union – 2nd Edition (Revised) – Moscow: State Publishing House of Cinematic Literature, 1946 (Printing House "Red Banner") – 47 Pages; Soviet Cinema in 1947: Transcript of a Public Lecture Delivered on ...
Russian Futurist cinema refers to the futurist movement in Soviet cinema. Russian Futurist cinema was deeply influenced by the films of Italian futurism (1916–1919) most of which are lost today. Some of the film directors identified as part of this movement are Lev Kuleshov , Dziga Vertov , Sergei Eisenstein , Vsevolod Pudovkin and Aleksandr ...
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Soviet parallel cinema is a genre of film and underground cinematic movement that occurred in the Soviet Union in the 1970s onwards. The term parallel cinema (known in Russian as параллельное кино , parallel'noe kino ) was first associated with the samizdat films made out of the official Soviet state system. [ 1 ]
The state paid for new Soviet cinema with profits from imported American films. These imported films were extremely popular, leading Lev Kuleshov to coin the term amerikanshchina (American-itis). [3] Many Russian filmmakers left after the revolution, but Kuleshov stayed and worked to develop a new Soviet cinema. [1]
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