1998: Khrustalyov, My Car! (Aleksei German) Greg Dolgopolov December 2017 100 Years of Soviet Cinema Issue 85 One of the most disturbing Russian films of all time, Khrustalyov, mashuni (Khrustalyov, My Car!, 1998) provides the audience with a firsthand experience of the madness, paranoia and absurdity that pervaded...
1938: Alexander Nevsky (Sergei Eisenstein) Greg Dolgopolov December 2017 100 Years of Soviet Cinema Issue 85 Aleksandr Nevskiy (Alexander Nevsky) is not central to Eisenstein’s theory of montage and is not considered to be one of his most important works, at least critically. Yet the film exhibits a powerful...
1928: The House on Trubnaya (Boris Barnet) Greg Dolgopolov December 2017 100 Years of Soviet Cinema Issue 85 Boris Barnet’s Dom na Trubnoi, Mezhrabpom-Rus (The House on Trubnaya, 1928) is a masterpiece of Soviet silent cinema. It is a delightful comedy of manners that satirises contemporary life in Moscow during...
Gregor Jordan Greg Dolgopolov December 2013 Contemporary Australian Filmmakers Issue 69 Gregor Jordan (b. 1966, Sale, Victoria) is a versatile Australian director recognised for his capacity to work across multiple platforms (cinema, television, online, documentary, shorts and music video) and...
Khrustalyov, My Car! Greg Dolgopolov March 2013 CTEQ Annotations on Film Issue 66 One of the most disturbing Russian films of all time, Khrustalyov, mashuni (Khrustalyov, My Car!, 1998) provides the audience with a firsthand experience of the madness, paranoia and absurdity that pervaded...
The House on Trubnaya Greg Dolgopolov September 2012 CTEQ Annotations on Film Issue 64 Boris Barnet’s Dom na Trubnoi, Mezhrabpom-Rus (The House on Trubnaya, 1928) is a masterpiece of Soviet silent cinema. It is a delightful comedy of manners that satirises contemporary life in Moscow during...
Alexander Nevsky Greg Dolgopolov March 2011 CTEQ Annotations on Film Issue 58 Aleksandr Nevskiy (Alexander Nevsky) is not central to Eisenstein’s theory of montage and is not considered to be one of his most important works, at least critically. Yet the film exhibits a powerful...
“A pointed condemnation of an effete Western society”: The Adventures of Barry McKenzie (Bruce Beresford, 1972) Greg Dolgopolov March 2011 Key Moments in Australian Cinema Issue 58 Contemporary Australian cinema has lost any sense of spontaneity or carnivalesque excess in the prison house of worthiness and realism. Aside from genre films, there are now few moments of bedlam, scatological...
Igla (The Needle) Greg Dolgopolov July 2010 CTEQ Annotations on Film Issue 55 1988 was a high point in the cultural transformations that exploded under perestroika. The films produced under these new conditions bore the malignant fruits of glasnost combined with the promise of fresh...
Asya’s Happiness Greg Dolgopolov December 2009 CTEQ Annotations on Film Issue 53 Istoriya Asi Klyachinoy, kotoraya lyubila, da ne vyshla zamuzh (Asya’s Happiness) is a seminal film, a film that suffered numerous title changes and edits by edict. It is a rediscovered classic that was...
Ruslan and Ludmila/Ruslan i Lyudmila Greg Dolgopolov May 2007 CTEQ Annotations on Film Issue 43 Ruslan and Ludmila/Ruslan i Lyudmila (USSR 1972 149 mins) Prod Co: Mosfilm Dir: Alexander Ptushko Scr: Alexander Ptushko, adapted from Alexander Pushkin Phot: I. Gelein, V. Zakharov SFX: I. Felitsyn, E....
Imagining Iran: A Symposium on Iranian Cinema Greg Dolgopolov February 2006 Festival Reports Issue 38 November 18, 2005 School of Media, Film & Theatre, University of New South Wales Censorship, lepers, allegory, half-made cinema, self-conscious naivety, neo neo-realism, national cinephilia,...
