Juan Monroy
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  1. Home
  2. Courses
  3. History of Film
  4. History of Film: Eastern European New Waves

History of Film: Eastern European New Waves

  • The Rise of the Soviet Union
    • October Revolution (1917)
    • Tsar Nicolas II abdicated after February 1917 Revolution
    • overthrow of the Russian (Alexander Kerensky) Provisional government
    • Bolshevik led forces into Petrograd on November 5 (October 23), 1917
    • Red Guards took control of the Winter Palace
    • power ceded to local Soviets, dominated by the Bolsheviks
  • Decrees
    • Private was seized and redistributed among the peasants
    • All Russian banks were nationalized.
    • Private bank accounts were confiscated.
    • The Church’s properties (including bank accounts) were seized.
    • All foreign debts were repudiated.
    • Control of the factories was given to the soviets.
    • Wages were fixed at higher rates than during the war, and a shorter, eight-hour working day was introduced.
  • Russian Civil War
    • Began in 1918 after the Bolsheviks took control of Petrograd
    • fighting between Red (Bolsheviks) and White (alliance of anti-Bolshevik forces)
    • Ended in 1922, when Reds took control of Vladivostok
    • Establishment of Soviet Union
  • Socialist Realism
    • Proletarian
    • Typical
    • Realistic
    • Partisan
    • Purpose
      • To unify the nation
      • To promote the state
  • Films of Socialist Realism Movement
    • Chapaev (Georgi Vasilyev, Sergei Vasilyev, 1934)
      based on the book about Vasili Ivanovich Chapaev (1887 - 1919) who was in real life the Commander of the 25th Division of the Red Army
    • Shchors (Alexander Dovzhenko, 1939)
      biography of the partisan leader and Ukrainian Bolshevik Nikolai Shchors, Red Army Commander during the Russian Civil War
    • Alexander Nevsky (Sergei Eisenstien, 1938)
      based on the story of a 13th Century Russian prince leading an army to battle an invading force of Teutonic Knights.
  • Sergei Parajanov
    • Shadows of a Forgotten Ancestors (1964)
      • departure from literary adaptations and light romantic comedies
      • employs tools of the cinema
        • zoom shots
        • wide angle lenses
        • rich color scheme
      • tragic love affair of nineteenth century Carpathia
      • won BAFTA award
      • quickly drew ire of Soviet government
    • Color of Pomegranates (1968)
      • banned upon its release
    • Return to Life (1980)
    • imprisonment
      • 1974–79: due to resistance to Soviet regime
      • 1982: back in jail
      • released under Gorbachev’s glasnost
    • died in 1990
      • USSR’s most innovative director since Eisenstein
  • World War II, The Cold War and a Divided Europe
    • Established at the Yalta Conference in 1945
      • Winston Churchill
      • Franklin D. Roosevelt
      • Joseph Stalin
    • Cold War divided Europe along an “iron curtain”
      • Capitalist Western bloc
      • Communist Eastern bloc
  • Eastern bloc
    • consisted of countries occupied by Soviet army after liberation from Germany
    • included East Germany (German Democratic Republic)
    • countries adopted Communist modes of government
    • rejected postwar Western rebuilding plans, such as…
      • Marshall Plan, in favor of the Molotov Plan
      • North Atlantic Treaty Organization, in favor of the Warsaw Pact
  • Eastern European Film Industries
    • commercial films were detached from any political meaning
    • film adaptations of literary classics
    • state censorship
      • political films would be banned or cut
      • filmmakers would be persecuted and jailed
  • Eastern European New Waves
    • spoke in a “double language"
      • content safely circumvents state censorship
      • speaks to savy audience using coded film techniques
  • Bertolt Brecht
    • alienation effect
    • discouraged the illusion of performance; encouraged critical observation
    • “artist never acts as if there were a fourth wall besides the three surrounding him […] The audience can no longer have the illusion of being the unseen spectator at an event which is really taking place.” (1964)
    • adopted by Eastern European filmmakers
  • Poland
    • National Film School in Lodz
    • Jerzy Skolimowski
    • Roman Polanski
    • Knife in the Water (1962)
  • Czechoslovakia
    • Vera Chytilová
      • early career
        • philosophy and architecture
        • model, script clerk, draftsperson
        • Prague FIlm School (FAMU)
      • film work
        • style of American Underground cinema of the 1960s
        • feminist: nature of power over women in Czechoslovakia
        • silenced the political machine in her country
      • Daisies (1966)
        • New Wave feminist film
        • Brechtian comedy
          • two women posing questions directly to the audience about philosophy and politics
          • jarring editing
          • existential pondering
    • Jan Schmidt
      • The End of August at the Hotel Ozone (1968)
      • Soviet tanks rolled into Prague to crush the liberalizing regime
      • end of the Czech New Wave cinema
  • Yugoslavia
    • Alexander Petrovic
      • And Love Has Vanished (1961)
        • first film of New Wave movement
      • I Even Met Happy Gypsies (1967)
        • love story that ends in murder
    • Dusan Makavejev
      • Man is not a Bird (1965)
        • love story
      • PTT Love Affair, or the Case of the Missing Switchboard Operator (1967)
        • utilizes stills, clips from documentaries, and other Brechtian devices
        • murder of a young woman
        • political social and sexual attitudes that led to her death
      • W.R.- Mysteries of the Organism (1971)
        • rejection of Stalinist ideology
        • American commercial society
  • Hungary
    • Andras Kovacs
    • Istvan Gaal
    • Miklós Jancsó
      • innovative camera work
        • tracking shots
        • camera is a passive observer
        • camera moves even as we wish to linger
      • strong political films
        • wartime responsibility
        • mob violence
        • military behavior
      • New Wave filmmaker
        • departure from literary adaptations
        • rejects aesthetics Socialist Realism
        • critical of power relations
  • The Red and the White (1967)
    • Russian Civil War (1918–22)
    • camera movement is alienating to the view
    • loose with historical accuracy
    • creates a binary between powerful and powerless
  • East Germany
    • strict censorship
    • conform to the Communist Party line
    • most films were non controversial, commercial favored by the government
    • Joachim Kunert
      • The Adventures of Werner Holt
        • struggle to survive at the end of WWII
    • Konrad Wolf
      • Stars (1959)
        • young Jewish woman who becomes romantically involved with German Prison guard
        • challenges anti-Semitism of the time
  • Bulgaria
    • Vulo Radev
      • The Peach Thief (1964)
      • The Longest Night (1967)
      • wartime films examining human actions when social structures collapse

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