Contents

pp v-vi

Figures

pp vii-viii

Notes on Contributors

pp ix-xii

Introduction

pp 1-16

Part I - Late Socialism: Cinema, Ideology, Subjectivity

pp 17-18

1 - Larisa Shepitko at VGIK and in Soviet / Post-Soviet Archives and Press

pp 19-37

2 - Larisa Shepitko, Aleksei German, and the Trials and Tribulations of Post-Thaw Soviet Filmmaking

pp 38-54

Part II - Intermediality: From Word to Image

pp 55-56

3 - Ghosts of the Present Past: Wings (1966), from the Script by Natalia Riazantseva and Valentin Ezhov to the Film by Larisa Shepitko

pp 57-76

4 - The Ordeal and The Ascent

pp 77-94

Part III - The Materiality of Moving Images

pp 95-96

5 - The Revolutionary Past as Environment: Rain, Dust, and Faces in The Homeland of Electricity

pp 97-115

6 - The Senselessness of the Heroic Act and the Experience of War in The Ascent

pp 116-136

Part IV - Time, Memory, Temporality

pp 137-138

7 - White on White and The Black Square: Shepitko’s The Ascent, Stan Brakhage, and Cinematic Abstraction

pp 139-157

8 - Liquid Time: The Homeland of Electricity as Unprocessed Trauma

pp 158-176

Part V - Landscape and Environment

pp 177-178

9 - Methods of Conquest: Larisa Shepitko’s Heat, Soviet Russian Colonialism, and the Representation of the Virgin Lands Campaign in Soviet Cinema of the 1950s–60s

pp 179-199

10 - Larisa Shepitko’s Ecologies

pp 200-222

11 - The Shepitko Sky: Larisa Shepitko’s Meteorological Cinema of Immersion, Wonder, and Openness

pp 223-244

Part VI - Shepitko in Post-Soviet Cinema

pp 245-246

12 - The White, the Black, and the Gray: The Problem of Choice in Larisa Shepitko’s The Ascent and Sergei Loznitsa’s In the Fog

pp 247-268

Index

pp 269-276