The Myth of St. Petersburg in the Soviet Cinema throughout Gogol’s The Overcoat adaptations
Main Article Content
Abstract
Keywords
References
ALBÉRA, François (comp.), Los formalistas rusos y el cine. La poética del filme, Paidós, Barcelona, 1998.
ANTSIFEROV, Nicolai, Dusha Peterburga (El alma de San Petersburgo), YCMA Press, Paris, 1978.
BAGNÓ, Vsevolod, “Petersburgo y su literatura: juego de reflejos”, Revista de Occidente, 155, abril 1994, pp. 51-62.
BEARDOW, Frank, “Kozintsev and Soviet Cinema”, Essays in Poetics 1, 1977, pp. 8-26.
BRODSKY, Joseph, Menos que uno, Versal, Barcelona, 1986.
BUCKLER, Julie E., Mapping Saint Petersburg: imperial text and city shape, Princeton University Press, Princeton, NJ, 2005.
CLARK, Katherina, Petersburg, crucible of cultural revolution, Harvard University Press, Cambridge, MA, 1995.
CONDEE, Nancy, The Imperial Trace. Recent Russian Cinema, Oxford University Press, Oxford, 2009.
CRONE, Anna L. y DAY, Jennifer J., My Petersburg/Myself: Mental Architecture and Imaginative Space in Modern Russian Letters, Slavica Publishers, Bloomington, IN, 2004.
DOSTOIEVSKY, Fedor, Memorias del subsuelo, Bruguera, Barcelona, 1979.
EICHENBAUM, Boris, “Cómo está hecho el Capote de Gógol”, en TODOROV, Tzvetan (ed.), Teoría de los formalistas rusos, Siglo XXI, Buenos Aires, 1970, pp. 159-175.
GILLESPIE, David, “New version of Old classic: Recent cinematic Interpretations of Russian Literature”, en BEUMERS, Brigit (ed.), Russian on Reels. The Russian Idea in Post-Soviet Cinema, Tauris, London, 1999.
GILLESPIE, David y SMIRNOVA, Elena, “Alexander Sokurov and the Russian Soul”, Studies in European Cinema, vol. 1.1, 2004, pp. 57-64.
GÓGOL, Nicolai, Historias de San Petersburgo, Alianza, Madrid, 1998.
GOODWIN, James, Eisenstein, Cinema and History, University of Illinois Press, Urbana, IL, 1993 GRAFFY, Julian, Gogol’s The Overcoat, Bristol Classical Press, London, 2000.
HERNÁNDEZ, María V., “El San Petersburgo real e imaginado por N.V. Gógol”, Revista de Filología Románica, 2008, Anejo VI (II), pp. 207-211.
HUTCHEON, Linda, A Theory of Adaptation, Routledge, New York, NY, 2006, HUTCHINGS, Stephen, Russian Literary Culture in the Camera Age. The word as image, Routledge, New York, NY, 2004.
HUTCHINGS, Stephen y VERNITSKI, Anat, Russian and Soviet Film Adaptation of Literature 1900-2001: Screening the word, Routledge, New York, NY, 2005.
KENEZ, Peter, Cinema and Soviet Society. From Revolution to the death of Stalin, Tauris, London, 2001.
KOZINTSEV, Grigori, “The Cloak”, en CHRISTIE, Ian y GILLET, John (eds.), Futurism/Formalism/Feks: “Eccentrism” and Soviet Cinema 1918-36, BFI, London 1978, pp. 24-28.
KOZINTSEV, Grigori, “Un niño de la Revolución”, en SCHNITZER, Luda y Jean, y MARTIN, Marcel (eds.), El cine soviético visto por sus creadores, Sígueme, Salamanca, 1975, pp. 111-136.
KIRSCHENBAUM, Lisa A., The Legacy of the Siege of Leningrad, 1941-1995. Myth, Memories, and Monuments, Cambridge University Press, New York, NY, 2006.
LAURENT, Natacha, “Le Modèle soviètique des studios, L’exemple de Lenfilm”, Vingtième Siècle. Revue d’histoire, nº 46, abril-junio 1995, pp. 107-116.
LEAMING, Barbara, Kozintsev, Twayne Publishers, New York, NY, 1980.
LEITCH, Thomas, Film Adaptation and its Discontents: From Gone with the Wind to The Passion of the Christ, Johns Hopkins University Press, Baltimore, MD, 2007.
LEYDA, Jay, Kino. Historia del film ruso y soviético, Editorial Universitaria de Buenos Aires, Buenos Aires, 1965.
LINCOLN, Bruce W., Sunlight at Midnight: St. Petersburg ant the Rise of Modern Russia, Basic Books, New York, NY, 2002.
LOTMAN, Yuri M., “Símbolos de Petersburgo y problemas de semiótica urbana”, Revista de Occidente, 155, abril 1994, pp. 5-22.
LURY, Karen y MASSEY, Doreen, “Making connections”, Screen, vol. 40, nº 3, Autumn 1999, pp. 229-238.
MARGOLIT, Evguenii, “Monumental Sculptures in Soviet Cinema of the 1920’s”, Kinokultura, nº 26, 2009, http://www.kinokultura.com/2009/issue26.shtml, 10-3-2010.
MARTIN, Marcel, Le cinéma soviétique de Khrouchtche á Gorbatchev, L’Age d’Homme, Paris, 1993.
MURATOV, Leonid, Obraz blokadnogo Leningrada v sovetskom kinematografe, Lenizdat, Leningrad, 1986.
MURATOV, Leonid, “Ekranny obraz Peterburga-Petrograd-Leningrada” (“Adaptación de obras de Petersburgo-Petrogrado-Leningrado”), Neva, nº 1, 1978, pp. 15-31.
NILSSON, Nils A., “Gogol’s The Overcoat and the Topography of Petersburg”, Scandoslavica, 21, 1975, pp. 5-18.
POLIWODA, Bernadette, FEKS-Fabrik des exzentrischen Schauspielers. Vom Excentrismus zur Poetik des Films in der frühen Sowjetklutur, Sagner, München, 1994.
RUBLE, Blair A., Leningrad: Shaping a Soviet City, University of California Press, Berkeley, CA, 1990.
SCHNITZER, Luda y Jean y MARTIN, Marcel, El cine soviético visto por sus creadores, Sígueme, Salamanca, 1975.
STAM, Robert, “Beyond Fidelity: The Dialogics of Adaptation”, en NAREMORE, James (ed.), Film Adaptation, Rutgers, New Brunswick, NJ, 2000, pp. 54-76.
TAYLOR, Richard, WOOD, Nancy, y otros (eds.), The BFI Companion to Eastern European and Russian Cinema, BFI Publishing, London, 2000.
TOPOROV, Vladimir, Peterburgskii tekst russkoi literatury, (El texto de Petersburgo en la literatura rusa), Iskutssvo, St. Petersburg, 2003.
TRAUBERG, Leonid, “Interview with Barthlemy Amengual”, en CHRISTIE, Ian y GILLET, John (eds.) Futurism/Formalism/Feks: “Eccentrism” and Soviet Cinema 1918-36, BFI, London 1978, pp. 29-30.
TYNIANOV, Yuri, “Presentación del guión de El abrigo”, en ALBÉRA, François (comp.), Los formalistas rusos y el cine. La poética del filme, Paidós, Barcelona, 1998, pp. 171-174.
VOLKOV, Solomon, St. Petersburg: A cultural History, Free Press, New York, NY, 1995.
WIDDIS, Emma, Visions of a New Land. Soviet Film from the Revolution to the Second World War, Yale Univesity Press, New Haven, CT, 2003.
WOLL, Josephine, Real Images: Soviet Cinema and the Thaw, Tauris, London, 2000.
Details
Article Details
RIGHTS TRANSFER
By submitting the article for evaluation and subsequent publication in Communication & Society, the AUTHOR exclusively assigns the rights of public communication, reproduction, distribution and sale for commercial exploitation to the University of Navarra through its Publications Service, for the maximum legal term in force -the entire life of the author and seventy years after his death or declaration of death-, in any country, and in any of the current and future edition modalities, both in print and electronic versions.
In the event that the article is not accepted for publication , this transfer of rights lapses with the communication of the refusal to the AUTHOR.
The AUTHOR affirms that the article is unpublished, that it has not been sent simultaneously to another publication medium and that the rights have not been transferred exclusively previously. He is responsible to the University of Navarra through its Publications Service for the authorship and originality of his work, as well as for all pecuniary charges that may arise for the University of Navarra through its Publications Service, in favor of third parties due to actions, claims or conflicts arising from the breach of obligations by the AUTHOR.