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Soviet parallel cinema
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Soviet parallel cinema
Soviet parallel cinema is a genre of film and underground cinematic movement that occurred in the Soviet Union in the 1970s onwards. The term parallel cinema (known in Russian as параллельное кино, parallel'noe kino) was first associated with the samizdat films made out of the official Soviet state system. Films from the parallel movement are considered to be avant-garde, non-conventionalist and cinematographically subversive.
The two main groups and founders of the parallel cinema movement are Evgenii Iufit and the Necrorealists in Leningrad (now known as Saint Petersburg), and the circle of Aleinikov brothers in Moscow. These two groups achieved phenomenal fame in Russia in the 1980s – and during the dissolution of the Soviet Union – for their involvement in the parallel cinema movement and "late socialism".
Soviet parallel cinema is an offshoot of the film movement that overrun the 1960s and 1970s in India called New Indian Cinema – alternatively known as Indian New Wave or parallel cinema. Similarly to its Soviet counterpart, it maintained a focus on offbeat productions that dealt with real world representations of society including socio-cultural and political contexts. It was strongly espoused by the themes, methods and workings of Neorealism.
The introduction of parallel cinema is derived from amateur film studios and workshops that were prevalent in Soviet culture at the time. During 1957, the Soviet state system formed a funding to provide support for professional filmmakers and subsequently for amateur film workshops. This enforced the states regulation and control on ideological distribution on the industry. The Soviet state established two systems for filmmaking: the first controlled professional cinema or State Committee for Cinematography called Goskino, and amateur film studios. Films produced outside of these official systems are classified in the world of "parallel cinema". The films produced in this era were out of the state's control and as such, prohibited. Parallel cinematographers, such as Evgenii Iufit and the Aleinikov Brothers, utilised the studio facilities of amateur film clubs and workshops to produce their films. The Leningrad amateur film club - used by Evgenii Iufit and more – still exists under the name the St. Petersburg Club of Film and Video Amateurs. As the political controls diminished in the 1980s with the shifts of power, the amateur film workshops were overrun with parallel cinema production. The parallel movement marks the first large influx of creative expression in Soviet culture since post-Russian Revolution in the 1920s.
Films of the Soviet parallel cinema movement is classified under the umbrella of renegade self-published art and literature of the Soviet State called samizdat. Samizdat was deemed forbidden and unavailable for distribution due to is rebellious ideals and alternative ideologies to the Soviet Union. All forms of samizdat displayed defiance to the government-regulated distributed content as it embodied political opposition and an open discourse that aimed to deconstruct the Soviet Empire. In the term's broadness, parallel cinema, or parallel'noe kino, is also described as cinematic samizdat.
The parallel cinema movement in Soviet states was accompanied by the introduction of a samizdat cinematic journal called Cine-Fantom. Cine-Fantom was founded by Gleb Aleinikov and Igor Aleinikov (known as Aleinikov brothers) in the 1980s. Cine-Fantom has since stood as a film festival, meeting house and currently as a theatre. The Cine-Fantom was a hand-made art journal that was devoted to the publishing the issues and developments of cinema – particularly in relation to parallel cinema. The journal was originally created and published only for friends of the two brothers, however, it gained popularity in the latter part of the 1980s circulating widely across Russia. It became well known for its trademark blue cover. The journal was the first to establish the changes in Soviet cinema with the term "parallel cinema" as it appeared in an issue having been taken from the encyclopedia. During the Soviet Parallel cinema movement, filmmakers began producing films independent from the official Soviet production system. Hence, Cine-Fantom was a centre-point for these filmmakers and the avant-garde film industry.
While the state defined production of art was ground on the doctrine of social-realism, the parallel cinema movement challenged the construction with a subversive potency. The two most infamous groups and founders of the parallel cinema movement are Evgenii Iufit and the Necrorealists in Leningrad, and the circle of Aleinikov brothers in Moscow. Evgenii Iufit founded the cult sub-genre called necrorealism, that was adopted by followers of the movement throughout Leningrad. Necrorealism is understood as parody of social-realism. Through the wordplay and pun, the term implies that the reality of the regime was death. This term also signalled the anticipation to the end of the radicalism Russian Social Democratic Labor Party, or the Bolsheviks. Films adopting this ideology primarily focus on dark themes, black humour, monochromatic images and notions of the absurd. The necrorealists focused on challenging the ways death was represented throughout Soviet culture, specifically through the taboo aspects such as extreme violence, suicide or body decomposition. At the time, Leningrad hosted a multitude of underground groups with the necrorealists being the most infamous and prevalent. The necrorealists were established outside the amateur film movement, however, were not completely detached from it as individual filmmakers created their films at trade union studios and Leningrad amateur film club.
In the early 1980s and prior, official filmmaking was under the control of the Soviet regime while the parallel cinema world remained underground. Goskino – the state studio – monopolised the control, regulation and censorship on the industry and film production. This committee were culminated to deem what images were appropriate and acceptable for the people in terms of political and social ideologies. As such, at this stage Soviet parallel cinema remained an unofficial and underground renegade film club that challenged the constraints of the official system.
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Soviet parallel cinema
Soviet parallel cinema is a genre of film and underground cinematic movement that occurred in the Soviet Union in the 1970s onwards. The term parallel cinema (known in Russian as параллельное кино, parallel'noe kino) was first associated with the samizdat films made out of the official Soviet state system. Films from the parallel movement are considered to be avant-garde, non-conventionalist and cinematographically subversive.
The two main groups and founders of the parallel cinema movement are Evgenii Iufit and the Necrorealists in Leningrad (now known as Saint Petersburg), and the circle of Aleinikov brothers in Moscow. These two groups achieved phenomenal fame in Russia in the 1980s – and during the dissolution of the Soviet Union – for their involvement in the parallel cinema movement and "late socialism".
Soviet parallel cinema is an offshoot of the film movement that overrun the 1960s and 1970s in India called New Indian Cinema – alternatively known as Indian New Wave or parallel cinema. Similarly to its Soviet counterpart, it maintained a focus on offbeat productions that dealt with real world representations of society including socio-cultural and political contexts. It was strongly espoused by the themes, methods and workings of Neorealism.
The introduction of parallel cinema is derived from amateur film studios and workshops that were prevalent in Soviet culture at the time. During 1957, the Soviet state system formed a funding to provide support for professional filmmakers and subsequently for amateur film workshops. This enforced the states regulation and control on ideological distribution on the industry. The Soviet state established two systems for filmmaking: the first controlled professional cinema or State Committee for Cinematography called Goskino, and amateur film studios. Films produced outside of these official systems are classified in the world of "parallel cinema". The films produced in this era were out of the state's control and as such, prohibited. Parallel cinematographers, such as Evgenii Iufit and the Aleinikov Brothers, utilised the studio facilities of amateur film clubs and workshops to produce their films. The Leningrad amateur film club - used by Evgenii Iufit and more – still exists under the name the St. Petersburg Club of Film and Video Amateurs. As the political controls diminished in the 1980s with the shifts of power, the amateur film workshops were overrun with parallel cinema production. The parallel movement marks the first large influx of creative expression in Soviet culture since post-Russian Revolution in the 1920s.
Films of the Soviet parallel cinema movement is classified under the umbrella of renegade self-published art and literature of the Soviet State called samizdat. Samizdat was deemed forbidden and unavailable for distribution due to is rebellious ideals and alternative ideologies to the Soviet Union. All forms of samizdat displayed defiance to the government-regulated distributed content as it embodied political opposition and an open discourse that aimed to deconstruct the Soviet Empire. In the term's broadness, parallel cinema, or parallel'noe kino, is also described as cinematic samizdat.
The parallel cinema movement in Soviet states was accompanied by the introduction of a samizdat cinematic journal called Cine-Fantom. Cine-Fantom was founded by Gleb Aleinikov and Igor Aleinikov (known as Aleinikov brothers) in the 1980s. Cine-Fantom has since stood as a film festival, meeting house and currently as a theatre. The Cine-Fantom was a hand-made art journal that was devoted to the publishing the issues and developments of cinema – particularly in relation to parallel cinema. The journal was originally created and published only for friends of the two brothers, however, it gained popularity in the latter part of the 1980s circulating widely across Russia. It became well known for its trademark blue cover. The journal was the first to establish the changes in Soviet cinema with the term "parallel cinema" as it appeared in an issue having been taken from the encyclopedia. During the Soviet Parallel cinema movement, filmmakers began producing films independent from the official Soviet production system. Hence, Cine-Fantom was a centre-point for these filmmakers and the avant-garde film industry.
While the state defined production of art was ground on the doctrine of social-realism, the parallel cinema movement challenged the construction with a subversive potency. The two most infamous groups and founders of the parallel cinema movement are Evgenii Iufit and the Necrorealists in Leningrad, and the circle of Aleinikov brothers in Moscow. Evgenii Iufit founded the cult sub-genre called necrorealism, that was adopted by followers of the movement throughout Leningrad. Necrorealism is understood as parody of social-realism. Through the wordplay and pun, the term implies that the reality of the regime was death. This term also signalled the anticipation to the end of the radicalism Russian Social Democratic Labor Party, or the Bolsheviks. Films adopting this ideology primarily focus on dark themes, black humour, monochromatic images and notions of the absurd. The necrorealists focused on challenging the ways death was represented throughout Soviet culture, specifically through the taboo aspects such as extreme violence, suicide or body decomposition. At the time, Leningrad hosted a multitude of underground groups with the necrorealists being the most infamous and prevalent. The necrorealists were established outside the amateur film movement, however, were not completely detached from it as individual filmmakers created their films at trade union studios and Leningrad amateur film club.
In the early 1980s and prior, official filmmaking was under the control of the Soviet regime while the parallel cinema world remained underground. Goskino – the state studio – monopolised the control, regulation and censorship on the industry and film production. This committee were culminated to deem what images were appropriate and acceptable for the people in terms of political and social ideologies. As such, at this stage Soviet parallel cinema remained an unofficial and underground renegade film club that challenged the constraints of the official system.