Catalogue Search | MBRL
Search Results Heading
Explore the vast range of titles available.
MBRLSearchResults
-
DisciplineDiscipline
-
Is Peer ReviewedIs Peer Reviewed
-
Item TypeItem Type
-
Is Full-Text AvailableIs Full-Text Available
-
YearFrom:-To:
-
More FiltersMore FiltersSubjectCountry Of PublicationPublisherSourceLanguagePlace of PublicationContributorsLocation
Done
Filters
Reset
2
result(s) for
"Neuberger, Joan, 1953- author"
Sort by:
This thing of darkness : Eisenstein's Ivan the Terrible in Stalin's Russia
by
Neuberger, Joan, 1953- author
in
Eisenstein, Sergei, 1898-1948 Criticism and interpretation.
,
Stalin, Joseph, 1878-1953 Influence.
,
Ivan IV, Czar of Russia, 1530-1584 In motion pictures.
2019
\"Eisenstein's diaries and production notebooks show that he carefully planned Ivan the Terrible to be a devastating critique of Stalinism, a profound study of the tragedy of absolute power, and a wildly innovative use of montage, all wrapped inside a narrative that would receive Stalin's approval\"-- Provided by publisher.
This Thing of Darkness
Sergei Eisenstein's unfinished masterpiece, Ivan the Terrible, was no ordinary movie. Commissioned by Joseph Stalin in 1941 to justify state terror in the sixteenth century and in the twentieth, the film's politics, style, and epic scope aroused controversy even before it was released. In This Thing of Darkness, Joan Neuberger offers a sweeping account of the conception, making, and reception of Ivan the Terrible that weaves together Eisenstein's expansive thinking and experimental practice with a groundbreaking new view of artistic production under Stalin. Drawing on Eisenstein's unpublished production notebooks, diaries, and manuscripts, Neuberger's riveting narrative chronicles Eisenstein's personal, creative, and political challenges and reveals the ways cinematic invention, artistic theory, political critique, and historical and psychological analysis went hand in hand in this famously complex film.
Neuberger's bold arguments and daring insights into every aspect of Eisenstein's work during this period, together with her ability to lucidly connect his wide-ranging late theory with his work on Ivan, show the director exploiting the institutions of Soviet artistic production not only to expose the cruelties of Stalin and his circle but to challenge the fundamental principles of Soviet ideology itself. Ivan the Terrible, she argues, shows us one of the world's greatest filmmakers and one of the 20th century's greatest artists observing the world around him and experimenting with every element of film art to explore the psychology of political ambition, uncover the history of recurring cycles of violence and lay bare the tragedy of absolute power.