The rich history of Russian animation, spanning over a hundred years, is interesting not only from the point of view of cinematography, but also as an illustration of the interactions between filmmakers and the Soviet regime. In this article, I examine animation as a space where censorship was less vigilant. Most notably, beginning with the first sound cartoon (The Post, 1929, by Michail Tsekhanovsky), film directors invited the collaboration of distinguished composers. For many academic composers who were out of favor with the regime, work in the film industry was the only way to earn a living, gain access to listeners, and explore new creative approaches.

"Chi fa cinema di animazione si può considerare un piccolo Dio".Censura e libertà nel cinema di animazione sovietico

ZHIVOVA, ANGELINA
2014

Abstract

The rich history of Russian animation, spanning over a hundred years, is interesting not only from the point of view of cinematography, but also as an illustration of the interactions between filmmakers and the Soviet regime. In this article, I examine animation as a space where censorship was less vigilant. Most notably, beginning with the first sound cartoon (The Post, 1929, by Michail Tsekhanovsky), film directors invited the collaboration of distinguished composers. For many academic composers who were out of favor with the regime, work in the film industry was the only way to earn a living, gain access to listeners, and explore new creative approaches.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11390/1134682
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