Notice bibliographique
Résumé
Louis Menashe Moscow Believes in Tears: Russians and Their Movies New Academia Publishing, 2010; 420 pages; $28 The last quarter century of Russian cinema was an exceptionally exciting one. It marked the end of Brezhnev's of stagnation, which saw the production of a number of important films-but many of these had troubled production histories and were either released to limited distribution (Larissa Shepitko's The Ascent [Voskhozhdenie 1976]) or were banned outright (Alexander Askoldov's The Commissar [Komissar, 1967, released 1988]).The glasnost era in cinema was particularly tumultuous, as the Union of Cinematographers was restructured and assumed a leadership role in Gorbachev's publicity campaign. Banned films came off the shelf, and filmmakers challenged old norms with a newfound abandon (often, but not always, to the detriment of art). The most famous example was Vasily Pichul's Little Vera (Malenkaia Vera, 1988). The documentary came to the forefront, as filmmakers sought to expose many of their society's most pressing ills and, especially, Russia's painful, largely hidden past (Semyon Aranovich, Was Stalin's Bodyguard [la sluzhil vokhrane Stalina, 1990]). After the collapse of the USSR in 1991, Russian cinema faced the greatest challenges in its 83-year history, as state funding dried up and private investment, domestic or foreign, was essentially unavailable due to the precipitous decline of the economy. Few films were produced, and foreign films, mainly third-rate American pictures, flooded the market. Most Soviet films made were dross, with the notable exception of Nikita Mikhalkov's Burnt by the Sun (Utomlennye solntsem, 1994), which won the Oscar for Best Foreign Picture in 1995. By the turn of the millennium, however, state funding was restored and a few private studios had formed, sparking a renaissance in Russia cinema. Alexander Sokurov's The Russian Ark (Russkii kochveg, 2002) is the example best known in the West. Moscow Believes in Tears is a compendium of Louis Menashe's writings on film over the last 25 years, primarily for the journal Cineaste, for which he is an associate editor. The title is a riff on Vladimir Menshov's phenomenally successful 1979 film Moscow Does Not Believe in Tears [Moskva slezam ne verit]. It consists of a film journal, film reviews (both short and long), book reviews, review essays, and interviews with filmmakers that taken together provide a remarkable overview of the Soviet and now Russian film industry over three tumultuous decades. But it's not only a film history; it's also a tour of Russian cultural history, led by an experienced, perceptive, and passionate guide, written in sparkling, decidedly non-academic prose. The book is organized thematically, rather than chronologically by film, although the order works out to be generally chronological: I Found It at the Movies: Kino Journal, 1991-2004, Close-ups on the Past (On Stalin and Stalinism and On Russian Battlefields), Fragments from the Russian Experience, Glasnost Galore: Cinema in the Soviet Twilight, Transitions, A Concluding Montage across Time and Borders, and Soundtracks: Interviewing the Filmmakers. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».