Page 250 - Inside the Film Factory New Approaches to Russian and Soviet Cinema

NOTES 231
63 L.Heller, De la Science-fiction soviétique (translated from Russian: Lausanne: 1979),
p. 39.
64 On Shaginyan’s inspiration from pre-Revolutionary material, see: J.Brooks, When
Russia Learned to Read (Princeton, NJ: 1985), p. 153.
65 See, for example, the FEKS manifesto with its reference to ‘Music-Hall
Cinematographovich Pinkertonov’, Ekstsentrism (Petrograd: 1922); translated in: FF,
pp. 58—64.
66 K.Lewis and H.Weber, ‘Zamyatin’s We, the Proletarian Poets, and Bogdanov’s Red
Star’, in Russian Literature Triquarterly, no. 12 (1975), pp. 252—78.
67 L.Trotsky, Literature and Revolution (Ann Arbor, Mich.: 1960), p. 210.
68 Heller, pp. 40—1; Williams, pp. 129—30.
69 Pliushch, see above, n. 16.
70 Published in 1877.
71 Suvin, p. 143.
72 C.Pike, ‘Dostoevsky’s “Dream of a Ridiculous Man”: Seeing is Believing’, in: J.
Andrew (ed.), The Structural Analysis of Russian Narrative Fiction (Keele: n.d.), pp.
26—53. Bakhtin’s analysis of the story is in: M.M. Bakhtin, Problemy poetiki
Dostoevskogo (2nd edn, Moscow: 1963); translated by R.W.Rotsel as Problems of
Dostoevsky’s Poetics (Ann Arbor, Mich.: 1973), pp. 122—3.
73 Pliushch, see above, n. 16.
74 See, for example, R.Yurenev, quoted in: Passek, p. 113; I. Vorontsov and I.Rachuk,
The Phenomenon of Soviet Cinema (Moscow: 1980), p. 60.
75 Bakhtin, pp. 94—7.
76 ibid., p. 100.
77 Leyda, p. 274.
78 I am indebted to Rashit Yangirov for information about the Foregger script.
79 Leyda, p. 186.
80 Erlich, the returning crook, ‘takes pleasure in his new role as a Soviet official’, but
continues to cheat and steal. The NEP was widely believed to be an excuse for such
activities.
81 The Serapion Brotherhood (named after a story by Hoffmann) was a group of young
Petrograd writers who experimented enthusiastically with language, narrative and
genre in the early 1920s, under the patronage of Shklovsky, Zamyatin and Gorky.
One of the founders, Lev Lunts, envisaged ‘a brotherhood of the plot’ who would
study Western popular writing in order to inject its dynamism and variety into
traditional Russian literature. See: G.Kern and C.Collins (eds), The Serapion
Brothers: A Critical Anthology (Ann Arbor, Mich.: 1975). Yevgeni Zamyatin (1884—
1937), author of the celebrated dystopia and parody of Bogdanov, We [My], a
versatile novelist, playwright, essayist and eventually film scenarist, was driven into
exile after a campaign to silence him in the late 1920s. Yuri Olesha (1899—1960)
wrote some remarkable satirical fantasies in the 1920s, The Three Fat Men [Tri
tolstyaka] and Envy [Zavist’], as well as journalism; but in 1934 was severely
reprimanded for scripting Room’s long-banned A Severe Young Man [Strogii
yunosha, 1934].
82 Chess Fever was co-directed by Nikolai Shpikovsky and Pudovkin, and includes in its
eclectic cast members of the Kuleshov group, Vladimir Fogel and Ivan Koval-
Samborsky, the future star of several of Protazanov’s films, Anatoli Ktorov, the
chess master José Capablanca (as himself), and Protazanov with his then assistant,