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dc.contributor.authorMiller, Gregory Blake, 1969-
dc.date.accessioned2011-04-08T21:04:22Z
dc.date.available2011-04-08T21:04:22Z
dc.date.issued2010-12
dc.identifier.urihttp://hdl.handle.net/1794/11059
dc.descriptionxii, 310 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.en_US
dc.description.abstractNostalgia is the longing for a lost, and often substantially reimagined, time or place. Commonly regarded as a conservative impulse available for exploitation by hegemonic forces, nostalgia can also be a source of social questioning and creative inspiration. This dissertation examines the ways in which nostalgic longing imports images and ideas from memory into present discourse and infuses works of art with complication, contradiction, and ambiguity. In the early 1960s, emboldened by Nikita Khrushchev's cultural Thaw, many Soviet filmmakers engaged both personal and social memory to craft challenging reflections of and responses to their times. These filmmakers reengaged the sundered spirit of the 1920s avant-garde and reimagined the nation's artistic and spiritual heritage; they captured the passing moments of contemporary history in a way that animated the permanent, productive, and sometimes stormy dialogue between the present and the persistent past. Mikhail Kalatozov's I Am Cuba (1964), Andrei Tarkovsky's Andrei Rublev (1966, released 1971), and Marlen Khutsiev's Ilich's Gate (1961, released with changes in 1965 as I Am Twenty ) were planned in the anxious years surrounding Khrushchev's fall, and the films mark a high point of Thaw-era cinematic audacity. Each film is epic in scope; each deploys temporal longing to generate narrative ambiguity and dialogue between historical epochs. The films are haunted by ghosts; they challenge the hegemony of the "now" by insisting on the phantom presence of a thousand "thens"; they refurbish old dreams and question contemporary assumptions. The Thaw permitted the intrusion of private memory into public history, and the past became a zone for exploration rather than justification. Easy answers became harder to come by, but the profusion of questions and suggestions created a brief silver age for Soviet cinema. For us, these films offer an extraordinary glimpse into creative life during one of the great, unsung social transitions of the 20th century and reveal the crucial contribution of individual memory in the artistic quest for formal diversity, spiritual inspiration, and ethical living.en_US
dc.description.sponsorshipCommittee in Charge: Dr. H. Leslie Steeves, Chair; Dr. Biswarup Sen; Dr. Julianne Newton; Dr. Jenifer Prestoen_US
dc.language.isoen_USen_US
dc.publisherUniversity of Oregonen_US
dc.relation.ispartofseriesUniversity of Oregon theses, School of Journalism and Communication, Ph. D., 2010;
dc.subjectCultural thawen_US
dc.subjectKalatozov, Mikhail, 1903-1973en_US
dc.subjectCinemaen_US
dc.subjectKhutsiev, Marlen, 1925-en_US
dc.subjectNostalgiaen_US
dc.subjectSoviet Union -- History -- 1953-1985en_US
dc.subjectTarkovskii, Andrei Arsenevich, 1932-1986en_US
dc.subjectThawen_US
dc.subjectCommunicationen_US
dc.subjectRussian historyen_US
dc.subjectFilm studiesen_US
dc.subjectMotion pictures -- Soviet Union -- History
dc.titleReentry shock: Historical transition and temporal longing in the cinema of the Soviet Thawen_US
dc.title.alternativeHistorical transition and temporal longing in the cinema of the Soviet Thawen_US
dc.typeThesisen_US


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