This enticing family saga unfolds on the background of Italian history from 1870 to 1945. The rich narrative tapestry includes a castle in the countryside near Turin, three women, three generations, and a multitude of minor characters. It brings to the fore individual lives and human predicaments, personal feelings and universal themes. The lives of the three main characters, apparently ordinary, but actually tragic in their inexorable decline, are placed in a coral context that includes: the castle dwellers and the villagers, industrial entrepreneurs and socialist agitators, dive of the silent screen and working girls, American officers in WWI, fascist thugs and victims of the regime, a rogue and an honest prostitute, a star of the Neapolitan varieté, a Russian prince, a descendant of Sir Walton the pirate, a band of partisans, a populist priest, and even a domestic leopard.
The place that inspired the novel is the Castello di Cortanze, which belonged to the author’s family and served as the set for the staging of a video.
The novel is currently being translated into English and will come out in the Spring of 2019.
This book incorporates the realities of the 1990s in Russia, focusing on film production, the films themselves, and the socio-political-cultural context. The result is an unfolding story, in which film and facts occupy the same space. The author roams through the narrative, opening fresh fields of vision, and building unexpected montage sequences. She invites the readers to follow her and engage in a challenging interactive game.
The narrative reveals a picture of Russia (with Moscow in the foreground) as the big stage on which the drama unfolded. The author discusses some eighty films made between 1990 and 2000. Many reflect the reality of the present day, either in dramatic or grotesque form. Others reassess the past, placing different spins on various epochs and figures according to the director's ideological orientation. Still others offer escapism into imaginary worlds. The films selected may vary in technical quality and depth of thought; they may be mainstream pictures, or art films. But taken together, they provide an eloquent portrait of Russia, entering the new millennium still in search of its true identity.
This is an expanded edition of Kinoglasnost: Soviet Cinema in Our Time (Cambridge University Press, 1992). The book examines the fascinating world of Soviet cinema during the years of glasnost and perestroika—the 1980s. It shows how the reforms that shook the foundations of the Bolshevik state and affected economic and social structures have been reflected in the film industry and in the films the industry produced.
Soviet cinema has always been closely connected with national political reality, challenging the conventions of bourgeois society and educating the people. In this pioneering study, Lawton discusses the restructuring of the main institutions governing the industry; the abolition of censorship; the emergence of independent production and distribution systems; the dismantling of the old bureaucratic structures and the implementation of new initiatives. She also surveys the films that remained unscreened for decades for political reasons, films of the new wave that look at the past to search out the truth, and those that record current social ills or conjure up a disquieting image of the future.
Lawton not only presents a comprehensive picture of the contemporary Soviet film industry, she also analyzes the historical development of the Soviet Union.
This original collection of essays was generated from papers presented at a conference on Soviet Cinema in the US, which gathered together leading Soviet cinema scholars and international specialists for the first time. The conference took place at the Woodrow Wilson Center for International Scholars, in 1986, and was organized by Dr. Anna Lawton, who also edited this volume and wrote an extensive introduction. This collection encompasses seventy years of cinema history from the perspective of twenty academics of different backgrounds and nationalities.
This is the second edition of Russian Futurism Through Its Manifestoes 1912-1928 (Cornell University Pres, 1988). This collection made available for the first time in English the writings of the Russian Futurists, which supplied the theoretical base of their movement. An extensive Introduction by Anna Lawton provides an overview of the movement, and places it in the context of the global international avant garde.
The Introduction highlights the significance of Futurism as an international phenomenon originating in Italy, then sketches the history of Russian Futurism over approximately two decades. Whereas other surveys of Russian Futurism have concentrated either on the prerevolutioinary or the postrevolutionary stages, this Introduction provides a general overview that shows the movement’s basic continuity within change and relates specific moments to the documents included in the collection. This volume also includes an Afterword by Herbert Eagle that deals with the long-lasting legacy of Russian Futurist theories―those of its principles that found a fertile ground in Formalism, Structuralism, and semiotics.
Vadim Shershenevich was one of the most interesting poets and theoreticians of Russian modernism. In his Futurist stage he was notable for his use of Marinetti’s ideas in Russia, and was the only Russian poet to acknowledge the debt to Marinetti. He translated Marinetti’s manifestoes, and the novel Mafarka, il futurista. More importantly, he was founder and leader of Imaginism in Russia, beginning with the first manifesto in 1919 (also signed by Esenin and Marienhof). Lawton’s study contains a general survey of his life and work, plus detailed chapters on Futurism without a Mask, Green Street, and 2 + 2 = 5, the fundamental Imaginist book. The study contains bibliographies of works by and about Shershenevich.
Testimonies from Russian scholars reveal that in Soviet times, when works on the avant garde where removed from circulation, one single copy of this book was held in the Lenin Library in Moscow, and made accessible only to select researchers by special permission. Later the author received several thank you notes from those researchers.