Julian Graffy – författare

This work maps the rich, varied cinema of Eastern Europe, Russia and the former USSR. Over 200 entries cover a variety of topics spanning a century of endeavour and turbulent history from Czech animation to Soviet montage, from the silent cinemas dating back to World War I through to the varied responses to the conflicts in the former Yugoslavia. It includes entries on actors and actresses, film festivals, studios, genres, directors, film movements, critics, producers and technicians, taking the coverage up to the late 1990s. In addition to the historical material of key figures like Eisenstein and Wadja, the editors provide separate accounts of the trajectory of the cinemas of Eastern Europe and of Russia in the wake of the collapse of communism.

Abram Room's daring 1927 film is the story of a ménage à trois - one woman, two men - set in a 1920s Moscow flat. Remarkable for its frankness, humour and corrosive assessment of the new Soviet society, particularly the new Soviet man, _Bed and Sofa_ has found new and enthusiastic audiences in recent years.

"Chapaev" is the most popular film of the Soviet era. Directed by Georgi and Sergei Vasilev, it tells of the legendary exploits of the Red Army Commander Vasili Ivanovich Chapaev during the Russian Civil War. Its greatest fan was Joseph Stalin, who saw it 38 times at late-night showings in the Kremlin. It was both praised by Party ideologues for its faithfulness to the Bolshevik cause and loved by mass audiences for its adventure sequences and its tragic love story. For over seventy years, "Chapaev", Furmanov the Commissar, Petka and Anka have remained heroes of the Russian popular imagination. This illuminating and enjoyable companion tells the story of the real-life Chapaev, of the novel by Dmitri Furmanov, and of the struggles to make the film. Julian Graffy offers a detailed analysis of the film itself and then considers Chapaev's extraordinary after-life. The film provoked poetry by Osip Mandelstam and a novel by Viktor Pelevin, operas and scabrous popular anecdotes. Graffy shows that to understand Chapaev's appeal is to understand something about what it means to be Russian.

Culture and media institutions are part of the Soviet establishment, yet also head the counter-culture which has gradually been taking shape in the Brezhnev era. Glasnost has introduced new intellectual or institutional upheavals which the contributors describe and analyze.

This work maps the rich, varied cinema of Eastern Europe, Russia and the former USSR. Over 200 entries cover a variety of topics spanning a century of endeavour and turbulent history from Czech animation to Soviet montage, from the silent cinemas dating back to World War I through to the varied responses to the conflicts in the former Yugoslavia. It includes entries on actors and actresses, film festivals, studios, genres, directors, film movements, critics, producers and technicians, taking the coverage up to the late 1990s. In addition to the historical material of key figures like Eisenstein and Wadja, the editors provide separate accounts of the trajectory of the cinemas of Eastern Europe and of Russia in the wake of the collapse of communism.

This work maps the rich, varied cinema of Eastern Europe, Russia and the former USSR. Over 200 entries cover a variety of topics spanning a century of endeavour and turbulent history from Czech animation to Soviet montage, from the silent cinemas dating back to World War I through to the varied responses to the conflicts in the former Yugoslavia. It includes entries on actors and actresses, film festivals, studios, genres, directors, film movements, critics, producers and technicians, taking the coverage up to the late 1990s. In addition to the historical material of key figures like Eisenstein and Wadja, the editors provide separate accounts of the trajectory of the cinemas of Eastern Europe and of Russia in the wake of the collapse of communism.