Watch
Mother Tongue
Apparition of the Last Soviet Artist in London
ShadowMemory x Art Night Open
Postponed Futures
Superwoman: ‘Work, Build and Don’t Whine'
Unexpected Eisenstein
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Rachel Morley:
Russian Cinema before 1917 -
Ian Christie:
Besides Eisenstein: Protazanov, Barnet and the new Soviet cinema of the 1920s -
Ian Christie:
Maxim and co: creating the new heroes and heroines of the 1930s -
Phil Cavendish:
Soviet Colour Film, 1929-1945: An Experiment Understood by Very Few -
Jeremy Hicks:
Meaningful Martyrdom — Death, Revolution and Victory from Lenin to the Reichstag, 1924–45 -
Emma Widdis:
Film and the Making of the New Soviet Person: Bodies, Minds and Feelings -
Ian Christie:
Hopes and fears: the Soviet New Wave of the 1960s -
Carmen Gray:
Andrei Tarkovsky: The Citizen Poet and the State -
Jeremy Hicks:
Reusing War Footage in Russian and Soviet Films, 1945–2015
Peripheral Visions
A Game in Hell. The Great War in Russia
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John E. Bowlt:
Introductory remarks -
Elena Sudakova:
'Forgotten Heroes of the Great War' -
Christina Lodder:
'A Painting Fit for Heroes: Kazimir Malevich's Reservist of the First Division' -
Natalia Budanova:
'Who Needs the Art Now?': Russian Women Artists Representing the Great War' -
Valentina Parisi:
'Russian Avant-Garde Circles and the Literary Response to the Great War'
Work and Play Behind the Iron Curtain
The Shabolovka Tower Model
Kino/Film: Soviet Posters of the Silent Screen
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Curators and Special Guests:
Panel Discussion with Exhibition -
Lutz Becker:
Curator talks: Chess Fever and The Three Million Case -
Lutz Becker:
Curator talks: Man with a Movie Camera -
Lutz Becker:
Curator talks: October -
Lutz Becker:
Curator talks: Storm Over Asia and Turksib -
Lutz Becker:
Curator talks: The End of St Petersburg -
Elena Sudakova:
Soviet Posters of the Silent Screen
Utopia LTD
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'Inside the Rainbow' Performance:
Directed by Irina Brown -
Professor John Milner:
Seminar: 'Re-Constructivism' -
Willem Jan Renders:
Seminar: 'After Lissitzky: Reconstructions at the Van Abbemuseum' -
Christina Lodder:
Seminar: 'Gustav Klucis: Transmitting Utopia' -
Aleksandr Shklyaruk:
Seminar: 'Klucis and the Materialisation of a Futurist Idea' -
Dr. Maria Tsantsanoglou:
Seminar: 'Tatlin's Legend'
Listen
Superwoman: ‘Work, Build and Don’t Whine'
Unexpected Eisenstein
Bolt
A Game in Hell. The Great War in Russia
Read
Semën Timoshenko
(1899–1958)
Semën Timoshenko was a director, actor and writer who worked almost exclusively in Saint Petersburg (later Petrograd and Leningrad). Timoshenko studied at the Institute of Civil Engineers from 1918 to 1920. During this time he attended Vsevolod Meyerhold’s pioneering theatrical workshop and in 1920 he completed short courses in directing at the theatre department of Narkompros in Petrograd. Timoshenko’s stage career began in 1919 with roles at the Drama Theatre, and later as actor and director in the Comedy Theatre in Petrograd. His arrival in cinema came soon after and in 1925 he became a director at Sevzapkino studio (known later as Lenfilm). A young and aspiring director, Timoshenko was influenced by the most recent developments in Soviet film and the experiments of Eisenstein and Dziga Vertov. He subsequently became the Leningrad champion of the Moscow-born theory of montage.
Timoshenko’s most notable films include The Uprising (1929), The Goalkeeper (1936) and a Soviet comedy The Heavenly Slug (1945). His wife, the actress Liudmila Glazova, appeared in many of his films and Timoshenko himself appeared in Eisenstein’s Ivan the Terrible (1944). He was also the author of several theoretical publications on cinematography, including The Art of Cinema and the Montage of Films (1926), and What Every Film Director Should Know (1929). Timoshenko died on November 14, 1958 in Leningrad.