Soviet Cinema Posters 1960s
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Stalker (1979) - by Andrei Tarkovsky
Stalker (1979) - by Andrei Tarkovsky
Sergei Eisenstein, ‘A Dialectic Approach to Film Form.’
Sergei Eisenstein, ‘A Dialectic Approach to Film Form.’
Sergei Eisenstein, ‘A Dialectic Approach to Film Form.’
Sergei Eisenstein, ‘A Dialectic Approach to Film Form.’
Sergei Eisenstein, ‘The Cinematographic Principle and the Ideogram’.
Sergei Eisenstein, ‘The Cinematographic Principle and the Ideogram’.
“It’s hard to catch a person leading a double life!”“I was constantly tormented by it.”Beware of the
“It’s hard to catch a person leading a double life!”“I was constantly tormented by it.”Beware of the
Stalker (1979) - by Andrei Tarkovsky
Stalker (1979) - by Andrei Tarkovsky
“The Needle” dir. by Rashid Nugmanov, 1988
“The Needle” dir. by Rashid Nugmanov, 1988
calpuccino:Language is much closer to film than painting isI JUST DO NOT KNOW HOW THIS FILM COULD BE
calpuccino:Language is much closer to film than painting isI JUST DO NOT KNOW HOW THIS FILM COULD BE
vatnik-ivan:j-dueso:Morbo+CinemaUtomlyonnye solntsem (1994)IWorld-wide (English title  - “Burnt by t
vatnik-ivan:j-dueso:Morbo+CinemaUtomlyonnye solntsem (1994)IWorld-wide (English title  - “Burnt by t
grantcary:Operation Y and Shurik’s Other Adventures // Операция “Ы” и другие приключения Шурика [196
grantcary:Operation Y and Shurik’s Other Adventures // Операция “Ы” и другие приключения Шурика [196
dianus:Dziga Vertov, Man with a Movie Camera (Russian: Человек с киноаппаратом), 1929.‘Our eye
dianus:Dziga Vertov, Man with a Movie Camera (Russian: Человек с киноаппаратом), 1929.‘Our eye
Царевна-лягушка / The Frog Princess (1954) dir. by Mikhail Tsekhanovskiy.
Царевна-лягушка / The Frog Princess (1954) dir. by Mikhail Tsekhanovskiy.
Namus meaning “honor” is a 1925 silent film by Hamo Beknazarian which denounces the harsh rite
Namus meaning “honor” is a 1925 silent film by Hamo Beknazarian which denounces the harsh rite
Сталкер (Stalker) , dir. Andrei Tarkovsky, 1979.
Сталкер (Stalker) , dir. Andrei Tarkovsky, 1979.
Sergei Eisenstein, ‘The Cinematographic Principle and the Ideogram’.
Sergei Eisenstein, ‘The Cinematographic Principle and the Ideogram’.
roserosette:‎In the Thirteenth Hour of the Night, 1969, Larisa Shepitko
roserosette:‎In the Thirteenth Hour of the Night, 1969, Larisa Shepitko
disorienteddreams:Ivan’s Childhood (Andreï Tarkovsky, 1962)
disorienteddreams:Ivan’s Childhood (Andreï Tarkovsky, 1962)
mendelsohnben:Andrei Rublev (1966) dir. Andrei Tarkovsky
mendelsohnben:Andrei Rublev (1966) dir. Andrei Tarkovsky
Dziga Vertov (Kino-Glaz) = DzigaVertov (Cinema-Eye)El Lissitzky (Russian; 1890–1941)1929Gelatin silv
Dziga Vertov (Kino-Glaz) = DzigaVertov (Cinema-Eye)El Lissitzky (Russian; 1890–1941)1929Gelatin silv
Sovetskoe kino, no. 1 (cover) = SovietCinema, no. 1 (cover)Varvara Stepanova (Russian; 1894–1958)Pub
Sovetskoe kino, no. 1 (cover) = SovietCinema, no. 1 (cover)Varvara Stepanova (Russian; 1894–1958)Pub
wike-wabbits:Defying Everybody (Yuri Ilyenko, 1973)
wike-wabbits:Defying Everybody (Yuri Ilyenko, 1973)
winterswake:Ivan Vasilievich Changes Profession (1973) dir. Leonid Gaidai
winterswake:Ivan Vasilievich Changes Profession (1973) dir. Leonid Gaidai
thefilmstage:A stark contrast from triumphalist Allied narratives of World War II, Elem Klimov’s spe
thefilmstage:A stark contrast from triumphalist Allied narratives of World War II, Elem Klimov’s spe
Берегись автомобиля / Beware of the Car  (Eldar Ryazanov, Russia/USSR, 1966)
Берегись автомобиля / Beware of the Car  (Eldar Ryazanov, Russia/USSR, 1966)
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