Bibliographic record
Abstract
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. …
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".