II. Objectives of the course

a) Academic Aims (within the discipline)

- to define the place and role of the theme of mass & individual terror in the Russian cinema art of the sound period;

- to study a social, cultural, political and ideological context, main stages of the evolution of the theme of the course in Russian cinema-art, directions, aims, tasks of the development of this theme, basic authors' concepts of Russian feature films of the 30's-90's, where to some extent the theme of mass & individual terror is touched upon;

- the analysis and the classification of the model of contents, genre modifications, stylistic aspects of the Russian cinema art of sound period, dealing with the terror theme ( the classics in the history of Russian cinema - the works of Friedrich Ermler, Mikhail Romm, Leo Arnshtam, etc. and films that haven't been analyzed yet - made in the '80s-'90s as well);

- the aesthetic development of the creative personality of a student, his faculties for the perception, interpretation, analysis and the appraisal of the author's position in a film. On this basis, the eagerness of a future teacher for the education of pupils, with the help of the screen arts, is forming.

b) Learning Outcomes

The course 'THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA-ART (THE FEATURE FILMS OF THE SOUND PERIOD)' is important for Russian students - future pedagogues, because Russian society needs the true History of Modern Screen-Arts. During the analysis of the scientific literature and concrete works of Russian cinema art of the '30s-'90s of the XXth century, touching upon the theme of terrorism, students will know the aims and tasks (political, ideological, moral, aesthetic, etc.), plot, genre models, basic authors concepts of various interpretations of this theme in Russian cinema. And when Russian students finish the Pedagogic Institute they will teach pupils the true History of Russian Cinema-Art, including the theme 'Mass and Individual Terror'.

III. Course Detail

THEMATIC PLAN OF THE COURSE

a) Lecture Synopsis

A paragraph outlining the aims and content of each lecture.

1. THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA-ART . The Stage of the '30s

The aims of lecture is

- to define the place and role of the theme of mass & individual terror in the Russian cinema art of '30s;

- to study the social, cultural, political, ideological context, directions, aims and tasks of the development of this theme, model of contents of films on the topic, their genre modifications, authors viewpoints and stylistics.

Content of the lecture:

The '30s are one of the most complicated, contradictory and contrasting periods in the history of the Russian film industry (17, 5). 'Directors - socialist realists... had to bless and sometimes glorify mass repression of 'public enemies, (...) in a word aid adoption of the ideological myths of Stalinism into mass consciousness' (17, 34). The totalitarian system realized the political & ideological importance of the theme of terror. Though it didn't occupy the leading place in the Russian cinema, its propaganda role was rather big. With the help of a screen, the necessity of the 'revolutionary terror' towards 'class enemies', 'alien elements', etc. was put into the heads of millions of Russians. Such films became the apparent basis for the adoption of Stalin's thesis saying that as socialism develops, the class struggle should grow and become violent...

General social, cultural, political & ideological context of the '30s:

- mass terror in the totalitarian regime towards peasants that lead to the hunger in early '30s;

-  total abolition of the private property (that was revitalized during the Russian communist's New Economic Policy of the '20s;

-  intensive industrialization (mainly of heavy and military industries) at the cost of enormous efforts of people);

-  mass repression of millions of Russians - from the lowest to the highest strata of society;

-  intensive adoption of communism with the intensive repression of the Christian ideology;

- intensive militarization of the country, unleashing war conflicts.

The film industry that touched upon the terror theme to support the main lines of the state policy of the Stalin's regime, was set strict propaganda tasks which served as the basis for the film authors' conceptions:

- to prove that Bolsheviks' enemies camouflage themselves and are ready to make an act of terrorism any minute to seize power;

-  to show that terror towards the public enemies is justified and inevitable;

-  to convince viewers that anyone of their family, relatives, neighbors and friends can turn out to be a 'class enemy', who must be revealed and destroyed.

Genre modifications: on the whole the genre is that of a drama (war epic, historical). The style of such films was determined by the strict rules of so-called 'socialistic realism': instead of the experimental (especially in the form) film production of the '20s, the style of the ordinary, everyday life (in fact, often embellished) emerged with its consistent plot, theatrical performance of actors...

The dominating models of film plots: terror of Bolsheviks towards the so-called 'class enemies' and 'public enemies' and vice versa ('The Great Citizen' by F. Ermler, 'Aerograd' by A.Dovzhenko, 'The Party Card' by I. Pyriev, 'Lenin in 1918' M. Romm, etc.). The latter film by Romm had a mission to justify mass repression (17, 50). As far as films about collectivization are concerned, in such films a dramatic stereotype exists: 'poor peasants at once realize the advantages of a collective farm, middle class peasants hesitate, 'kulaks' (rich farmers) undertake sabotage and murders with the help of White Guard officers, foreign spies, priests and salesmen coming from the blue (17,69).

Even children's films of Stalin's period were swarming with enemies. In the '30s, when Stalin destroyed peasantry, enemies were usually 'kulaks', White Guards, who helped spies & saboteurs. The great support for enemies of the Soviet regime was clergy because at that time thousands of Russian new martyrs were killed by the godless power (6, 105).

2. THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA-ART: The Stage of the '40s.

The aims of lecture is

- to define the place and role of the theme of mass & individual terror in the Russian cinema art of 40's;

-  to study the social, cultural, political, ideological context, directions, aims and tasks of the development of this theme, model of contents of films on the topic, their genre modifications, authors viewpoints, stylistics, the differences from the stage of 30's.

Content of the lecture:

At the beginning of the war with the Nazis, Germany has visibly changed the social, cultural & ideological context, against which the Russian film industry developed. Class struggle and the struggle with religion stepped back, there was no mass repression against farmers, the leading place was taken by the struggle with fascists (the Germany with which Stalin had previously set friendly relationships).

General social, cultural, political & ideological context of '40s:

- hostilities on the territory of Russia from 1941 to 1944 and the war in the Eastern Europe & in the Far East in 1944-1945;

-  mass terror of Nazis towards the Russians on the occupied territories (concentration camps, mass shootings, etc.);

-  intense development of war industry, re-equipment of many plants to serve military purposes at the cost of peoples' efforts;

-  adoption of the communism ideology to patriotic slogans;

-  establishment of totalitarian regimes, that were totally dependent on the Kremlin almost in all the countries of the Eastern Europe in the late '40s;

- intense reconstruction of the Russian post-war economics in the late '40s;

-  come-back of mass repression in the late '40s - early '50s (struggle with cosmopolitanism, anti-Semitic campaign, etc.);

The film industry, dealing with the terror theme to support the main policy of the Stalin's regime of the '40s, was set the following propaganda tasks, which made up the basis for the artistic conceptions of film authors:

- to show that the Nazis terrorize Russian people and want to make them slaves;

-  to convince the audience that return terror is justified & necessary to win the war;

-  to convince the audience that one should be on alert, because Nazi agents & saboteurs who may be nearby; must be disclosed & destroyed;

Genre modifications: generally a drama (war, historical). The style of these films is not much different from those of the previous decade, however there's more realism in showing war in everyday life. The dominating models of film plots: terror of the Nazis towards the Russians (shootings, executions, tortures, etc.), return terror of the Russians (partisan raids, spies, shootings of the Nazis, etc.) towards the Germans ('Rainbow' by M. Donskoy, 'Zoya' by L. Arnshtam, 'The Young Guard' by S. Gerasimov, etc.). The playwright stereotype: Nazis destroy the peaceful, unruffled, happy life of people and capturing a town or a village they begin mass terror towards the population, including women and children, drive Russians away to Germany for hard labor, etc. People begin to struggle with enemies: in the army, in partisan groups, in secret organizations. In passing spies & saboteurs, traitors are disclosed... The only exception was the film by Sergei Eisenstein 'Ivan the Terrible' in which the merciless and bloody repressive state mechanism was shown, 'Oprichnina' (Special tsar’s police) terrorizing Russia by the tzar's will. (Ivan the Terrible who turned into a dictator at the cost of thousands of lives of his subjects.) All this was in fact an allegorical representation of Russian reality of the '30s-'40s. No wonder that the second part of the film, were Eisenstein's protest against terror & totalitarian power was evident, was prohibited by Stalin's regime...

3. THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA-ART: The Stage of the '50s - Early '80s.

The aims of the lecture is

- to define the place and role of the theme of mass & individual terror in the Russian cinema art of '50s - early '80s;

- to study the social, cultural, political, ideological context, directions, aims and tasks of the development of this theme, model of contents of films on the topic, their genre modifications, authors viewpoints, stylistics . The differences from the stage of '30s and '40s.

Content of the lecture:

The following stage may be divided into 2 main periods - Khrushchev’s 'thaw' (middle '50s - middle '60s) and Brezhnev's 'stagnation' (late '60s - early '80s). However with all differences & peculiarities of these periods, the cinema version of the theme of mass & individual terror was approximately the same: terror as it is was condemned, however the attitude towards the so-called 'revolutionary terror' was rather sympathetic...

General social, cultural, political & ideological background of the '50s - early '80s:

- rejection of the class struggle within the country, declaration of the creation of the united Soviet people, who had no national, ethnic, class or race problems;

-  official rejection of the idea of the world revolution & dictatorship of the proletariat; declaration of the policy of 'peaceful coexistence of socialistic and capitalistic systems', keeping the so-called 'ideological struggle';

- liquidation of mass terror of the state against its own citizens, preserving local struggle with people who had their own opinion (B. Pasternak, A. Saharov, A. Solzhenitsyn and others);

- continuation of the industrialization (mainly of the hard & military industries). In fact rates of this development slowed down and it took less people's efforts; until the beginning of the '80s, when crisis tendencies in the ineffective plans of the state economics began to show up because of the fall in oil prices;

- continuation of the intense adaptation of the communism ideology (in its new Lenin-orientated, post-Stalin variant), struggle with Christian ideology is less intense;

- continuation of the intense militarization of the country, unleashing war conflicts (in Africa and Asia), intervention in Hungary (1956) Czechoslovakia (1968); supporting militaries, including communist regimes in the 3rd world countries.

The film industry that touched upon the theme of terror to support the state policy of the authoritarian Soviet regime was set the following propaganda tasks that served as the basis for the conceptions of author's of a film:

- to show that terror during the Civil War was forced and led to people's sufferings;

-  to ignore or at least to conceal the true scale of mass terror in the '30s, concentrating mainly on the theme of war terror in the '40s;

-  to convince the audience that the so-called 'revolutionary terror of Bolsheviks' was made with noble aims, and terrorists themselves were honest, true to their noble ideals, protectors of the rights of oppressed people;

- to condemn terrorists who highjack planes, ships and blow up bombs.

Genre modifications: drama (war, historical), western (seldom 'eastern'), - tragic comedy, melodrama. The style of the majority of such films was no more determined by the laws of socialistic realism. Along with very much traditional screen versions of 'Quiet Flows the Don', ' The Road of Sorrows' and 'Optimistic Tragedy' some daring adventure films like 'Elusive Avengers' and sometimes quite murderous westerns (“eastern”) by Samvel Gasparov appeared on the screen. In the latter films the action took place during the Civil War in Russia and mutual hatred of the fighting sides was shown as the inevitable genre rules of the game. The destruction of dozens of people was shown as some circus performance with fountains of blood.

The appearance of milder models of the interpretations of the terror, which lack the aggressive mercilessness and explicitly of the models of the 30's-40's; terror towards the class enemies is still regarded as a positive one. However, often the accent is put on it being forced, temporal and sometimes even mistaken.

The dominating models of the film plots: terror towards the so-called 'enemies' (domestic & foreign) and terror of enemies against the authorities, its representatives & peaceful population.

The playwright stereotype of the films on the 'historical-revolutionary' topic: the poor are enthusiastic about the new rule by Bolsheviks, 'middle class' and intellectuals are uncertain; terror, blood and war frighten them. But in the long run they understand, that Bolsheviks took repressive actions unwillingly in the name of the future happy life of working people. Thus, those who had doubts, begin to understand the rightness of the theory of revolutionary terror and dictatorship of proletariat ('The Road of Sorrows', etc.). Special gratitude is given by the authors of films to Special Commission VCK (Special Police Service); men who, with 'clean hands', with fire and sword burn the 'enemy infections' (that is, millions of people) out of the Russian land ('The Operation 'Trust'', 'Peters', 'Born by the Revolution', 'The Failure', 'The Failure of the Operation 'Terror'', 'December, 20', etc.). An attempt by Alexander Askoldov in his drama 'Commissar' to disclose the true tragedy of the Civil War and antihuman nature of terror was mercilessly suppressed: the film was banned for 20 years. The same happened to Alexei German' (by the way, only hinted, coded) attempt to show in his film 'My Friend Ivan Lapshin' the work of the Special Policemen in the '30s. Among the films that showed terror in its most dramatic & true nature was 'Run' (based on the novel by Mikhail Bulgakov) and 'The Slave of Love'...

The playwright stereotype of WWII films stayed nearly the same that in the '40s but more true-to-life. For example, in the film 'Spiritually Strong', methods of the individual terror which were used against the Nazis during the WWII by the Russian secret agent Kuznetsov, were absolutely justified while his terror acts against the Nazi officers had a reversed effect: for each Nazi officer that was killed by Kuznetsov, fascists shot a hundred of Russians...

In films 'Sofia Perovskaya' and 'Executed at Dawn', terrorists who attempted to kill the Russian tsar were shown with sympathy. But in the 'The Sixth of July', the act of terrorism by the left-wing socialist-revolutionists, who killed the German ambassador in 1918 was condemned... Even more condemned were terrorist activities of the famous leader of socialists-revolutionists Boris Savinkov in films, as 'The Failure' and 'Operation 'Trust''... Of course, pure criminal terrorism ('The Pirates of the XX Century', 'The Fight in Snow-Storm') was condemned too. Though in the early '80s in the film 'A Story of a Stranger'), perhaps for the first time in the Russian film industry, not only the expediency of revolutionary individual terror, but also the moral qualities of revolutionists themselves were brought in question (it goes without saying that the main character was not a Bolshevik…).

In short, certain changes happened in the attitude towards the theme of the terror in the cinema, even though the clichés of the '30s-'40s milder models of showing terror reappeared. They lacked the furious mercilessness and flatness of the models of the '30s-'40s. Terror towards class enemies is still shown positively. However, the accent is on its forced, temporary and sometimes erroneous nature.

4. THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA-ART: The Stage of the late '80s -'90s.

The aims of the lecture is

- to define the place and role of the theme of mass & individual terror in the Russian cinema art of the late '80s-'90s;

-  to study the social, cultural, political, ideological context, directions, aims and tasks of the development of this theme, model of contents of films on the topic, their genre modifications, authors viewpoints, stylistics . The differences from the stage of '30s, '40s, '50s-'70s.

Content of the lecture:

This stage can be divided into two main periods - Gorbachev's 'Perestroika' (1985-1991) and Yeltsin's reforms (1991-nowadays). These periods are different from each other in many ways. They are similar, however, in condemning the individual and mass terror, whatever form it takes.

General social, cultural, political and ideological background of the late '80s-'90s:

First Period

- Gorbachev's declaration of 'Perestroika' and 'Glasnost', democracy, freedom of speech and improvement of socialism;

-  official blame of mass and individual terror and rehabilitation of millions of innocent people who were convicted and imprisoned or shot;

-  rejection of the ideological struggle and withdrawal of the troops from Afghanistan, declaration of the policy of disarmament;

-  gradual rejection of the censorship and free exchange of people & ideas between the USSR and Western countries;

-  economic and ideological crisis which led, in the long run, to the attempt of a conservative upheaval in the summer of 1991;

-  the decay of the Soviet Union in 1991;

Second Period.

- the beginning of the economic reforms, the revival of the private property, 'shock therapy'; sudden division of the society between the few rich and many poor people;

- an attempt of coup-d'etat in the autumn of 1993;

-  the crisis of reforms; the war in Chechnya, an attempt to solve economic problems with the help of money borrowed from the West; decay of the Russian industry;

- At this point, as the censorship was practically abolished, film producers got an opportunity for the first time to turn to the most vital themes that were banned before, such as the theme of mass terror and repression during the communism regime.

Below is the approximate list of ideas that served as the basis for the authors' conceptions of films on this topic:

- terror during the civil war, as the fratricidal war itself was the tragedy of the Russian people;

- mass terror of the '20s - early '50s was the consequence of an anti-human policy of Lenin and Stalin;

- terror, whatever form it takes, can not be justified, neither can be the ideology that gave start to it.

Genre modifications: drama (war, historical), western, tragic comedy, melodrama, comedy, parable. The styles are also different. Besides traditional realism ('The Sign of Misfortune', 'The Law', 'Nikolai Vavilov', etc.) some grotesque, ironical films are made ('The Feasts of Valtasar', '10 Years without the Right of Correspondence', etc.), and there is an exquisite stylization of the visual manner, as in 'The Late Stalinism' ('Moscow Parade'). Shocking films, that show mass terror and violence really close, appear ('Go and Watch', 'From Hell to Hell').

Dominating models of a plot:

- mass terror of Nazis during the Second World War and terror of the Communism regime towards its own citizens as well, destroyed human personality, turned people into hangmen and victims of the totalitarian dictatorship ('Go and Watch', 'From Hell to Hell', 'Advocate Sedov', ' Enemy of People - Bukharin', etc.). This model showed itself especially visibly in the films about mass deportations of Caucasian people in the '40s ('A Golden Cloud Slept', 'Coldness', 'A Road to the Edge of a Life');

- an ordinary man, trying not to be involved in politics becomes a victim of Stalin's terror and is imprisoned in a concentration camp. Only there does he realize the anti-human character of the communist regime ('Coma', 'Lost in Siberia', 'What a Wonderful Game', etc.), or people who believe in the justice of the communist ideas one day from experience the Stalin terror themselves, but they see it clearly only too late ('Tomorrow Was the War', 'Inner Circle', 'Burnt by the Sun');

- 'Revolutionary terror' and 'ideological terror' attracts people with the aggressive desire of power in the first place, psychos who this way or the other, want to leave their bloody trace in history ('Tsar’s Murderer', 'Trotsky', 'Romanov - the Tsar’s Family', 'Plumbum', 'Special Police Officer', 'Made in the USSR', etc.);

-  a common man of the second half of the XXth century goes to serve in the army (or finds himself in the prison or a work camp), where he comes across cruel terror not very different from that of the Nazis or Stalin's ('No Limits', 'The Guard', 'The Reed Paradise', 'Do - one!', etc.);

-  in the streets of today's Russian cities mobs terrorize people, the authorities can do nothing, a hero alone fights against thugs ('A Day of Love', 'Wild Beach', etc.);

- terrorists highjack planes, buses, and ships. Courageous and strong heroes disarm them ('Crazy Bus', 'Gangsters in the Ocean', etc.).

Thus, at this stage films where terror is categorically disapproved as antihuman method appear more and more often; films in which mass and individual terror is condemned no matter whose side is using it.

b) Seminar Synopsis

A paragraph outlining the aims and content of each seminar, including the set questions which will serve as the basis of each seminar discussion.

1. THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA-ART

The Stage of the 30's-40's.

The aims of the seminar is

- to see the most typical Russian films of the 30's-40's (with the theme of mass or individual terror);

-  to discuss these films with students in the context of the previous lecture.

-  the development of the creative & critic mentality of students, their faculties for the perception, interpretation, analysis and the appraisal of the author's position in the film. On this basis the eagerness of future teachers for the education of pupils, with the help of the screen arts, is forming.

Content of the seminar:

- the purpose for perception (introductory speech of a professor or special prepared student about the historical, political and sociocultural context, about the theme and genre of film, about the authors of this film, etc.);

-  watching the film(s);

-  the collective discussion of the film(s): the artistic analysis of the film(s) - the consideration of the episodes' contents, with the maximum brightness embodying the typical conformity to natural laws of the film on the whole; the analysis of the logic of author's mentality; the definition of the author's conception and the basis of the personal attitude of students to that or another position of the creators of the film(s).

The typical questions: What is the culmination's episodes of the film? What is the main film conflict? What is the hero's character? What is the author's conception of this film? What is the author's position about mass or individual terror? What is the difference between the interpretation of theme of mass & individual terror in the Russian cinema of 30's and 40's, etc.

The Russian films of 30's-40's (on the theme of the seminar):

FARMERS .1934.
DIRECTED BY FRIDRIH ERMLER
ACTORS: E.UNGER, B.POSLAVSKY, A.PETROV AND OTHERS.

AEROGRAD.1935.
DIRECTED BY ALEXANDER DOVJENKO
ACTORS: S.SHAGAIDA, S.STOLIAROV, E.MELNIKOV AND OTHERS.

THE PARTY CARD.1936.
DIRECTED BY IVAN PIRIEV
ACTORS: A.VOICIK, A.ABRIKOSOV, I.MALEEV AND OTHERS.

THE GREAT CITIZEN . 1937.
DIRECTED BY FRIDRIH ERMLER
ACTORS: N.BOGOLUBOV, O.JAKOV, Z.FEODOROVA AND OTHERS

LENIN IN 1918. 1939.
DIRECTED BY MIKHAIL ROMM.
ACTORS: B.SCHUKIN, N.BOGOLUBOV, N.CHERKASOV AND OTHERS

THE RAINBOW . 1943.
DIRECTED BY MARK DONSKOY
ACTORS: N.UJVY, N.ALISOVA E.TIAPKINA AND OTHERS.

ZOJA. 1944.
DIRECTED BY LEO ARNSHTAM
ACTORS: G.VODIANITSKA, K.TARASOVA, N.RYJOV AND OTHERS.

IVAN TERRIBLE . 1944-1945.
DIRECTED BY SERGEI EISENSTEIN
ACTORS: N.CHERKASOV, M.JAROV, L.CELIKOVSKA AND OTHERS

THE YANG GUARD S.1948.
DIRECTED BY SERGEI GERASIMOV
ACTORS: I.MAKAROVA, S.GURSO, N.MORDUKOVA AND OTHERS.

2. THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA-ART: The Stage of 50's - early 80's .

The aims of the seminar is

- to see one of the most typical Russian film(s) of the 50's-early 80's (with the theme of mass or individual terror);

-  to discuss this film(s) with students in the context of the previous lecture.

-  the development of the creative & critic mentality of students, their faculties for the perception, interpretation, analysis and the appraisal of the author's position in the film(s) .

Content of the seminar:

- the purpose for perception (introductory speech of a professor or a prepared student about the historical, political and sociocultural context, about the theme and genre of film(s), about the authors of this film(s), etc.);

-  watching the film(s);

-  the collective discussion of a film(s): the artistic analysis of the film(s) - the consideration of the episodes' contents, with the maximum brightness embodying the typical conformmity to natural laws of the film on the whole; the analysis of the logic of author's mentality; the definition of the author's conception and the basis of the personal attitude of students to that or another position of the creators of the film(s).

 The typical questions : What is the culmination episodes of the film? What is the main film conflict? What is the hero's character? What is the author's conception of this film? What is the author's position about mass or individual terror? What is the difference between the interpretation of theme of mass & individual terror in the Russian cinema of 30's - 40's and 50-s-70-s?, etc.

The Russian films of 50's- early 80's (on the theme of the seminar):

QUIET FLOWS THE DON. 1958.
DIRECTED BY SERGEI GERASIMOV
ACTORS: P.GLEBOV, L.HITIAEVA, E.BYSTRITSKA AND OTHERS.

MOTION ON THE TORMENTS. 1958
DIRECTED BY GEORGE ROSHAL
ACTORS: R.NIFONTOVA, V.MEDVEDEV, N.GRITSENKO AND OTHERS.

THE OPTIMISTIC TRAGEDY. 1963.
DIRECTED BY SAMSON SAMSONOV
ACTORS: M.VOLODINA, B.ANDREEV, V.TIHONOV AND OTHERS

CALLING THE FIRE TO OURSELVES. 1964.
DIRECTED BY SERGEI KOLOSOV
ACTORS: L.KASATKINA, I.ISVITSKA, O.EFREMOV AND OTHERS.

EXECUTED ON THE SUNRISE. 1964.
DIRECTED BY EVGENY ANDRICANIS
ACTORS: V.GANSHIN, E.SOLODOVA, T.KONUHOVA AND OTHERS

THE EXTRAORDINARY MISSION. 1965.
DIRECTED BY STEPAN KEVORKOV & ERASM KARAMIZN
ACTORS: G.TONUNTS, B.CHIRKOV, E.LEJDEI AND OHERS.

THE ELUSIVE AVENGERS. 1966.
DIRECTED BY EDMOND KEOSAJAN
ACTORS: V.KOSYH, M.METELKIN, V.VASILIEV AND OTHERS

THE OPERATION TRUST. 1967.
DIRECTED BY SERGEI KOLOSOV
ACTORS: I.GORBACHEV, D.BANIONIS, A.DJIGARHANIAN AND OTHERS.

SOFIA PEROVSKAJA. 1967.
DIRECTED BY LEO ARNSHTAM
ACTORS: A.NASAROVA, V.TARASOV, B.HMELNITSKY AND OTHERS

SPIRITUALLY STRONG. 1967.
DIRECTED BY VICTOR GEORGIEV
ACTORS: G.CILINSKY, I.PEREVERZEV, E.VESNIK AND THERS.

KOMISSAR. 1967.
DIRECTED BY ALEXANDER ASKOLDOV
ACTORS: N.MORDUKOVA, R.BYKOV AND OTHERS.

THE FAILURE. 1968.
DIRECTED BY VLADIMIR CHEBOTAREV
ACTORS: V.SAMOILOV, U.JAKOVLEV, E.KOPELIAN AND OTHERS

THE SIXTH OF JULY. 1968.
DIRECTED BY JULY KARASIK
ACTORS: U.KAUROV, V.TATOSOV, V..LANAVOI, A.DEMIDOVA AND OTHERS.

THE RUN .1970
DIRECTED ALEXANDER ALOV, VLADIMIR NAUMOV
ACTORS: L.SAVELIEVA, A.BATALOV, M.ULIANOV AND OTHERS.

THE NIGHT'S CHRONICLE . 1972.
DIRECTED BY ALEXEI SPESHNEV
ACTORS: A.ROMASHIN, D.FIRSOVA, E.KOPELIAN AND OTHERS.

PETERS. 1972.
DIRECTED BY SERGEI TARASOV
ACTORS: G.JACOVLEV, A.FALKOVICH, U.KAMORNY AND OTHERS.

UNTIL THE LAST MINUTE . 1973.
DIRECTED VALERY ISAKOV
ACTORS: V.DVORJESKY, T.TKACH, V.ZAKLUNNA AND OTHERS

THE SLAVE OF LOVE. 1975.
DIRECTED BY NIKITA MIKCHALKOV
ACTORS: E.SOLOVEI, A.KALIAGIN, R.NAHAPETOV AND OTHERS.

BORNE OF REVOLUTION. 1974-1977.
DIRECTED GRIGORY KOHAN
ACTORS: E.JARIKOV, N.GVOZDIKOVA, V.SHULGIN AND OTHERS

ON THE WOLF'S SCENT. 1976.
DIRECTED BY VALERY GADJIU
ACTORS: E.LASAREV, A.ROMASHI, G.SEIFULIN AND OTHERS

THE SKIRMISH IN THE SNOW-STORM. 1977.
DIRECTED BY ALEXANDER GORDON
ACTORS: L.MARKOV, V.GAFT, K.ZAHAROV AND OTHERS

THE HATRED. 1977.
DIRECTED BY SAMVEL GASPAROV
ACTORS: E.LEONOV-GLADYSHEV, E.CIPLAKOVA, E.BURDULI AND OTHERS.

THE ASCENT. 1977.
DIRECTED BY LARISA SHEPITKO
ACTORS: B.PLOTNIKOV, V.GOSTUHIN, A.SOLONITSIN AND OTHERS.

FORGET THE WORD DEATH. 1979.
DIRECTED BY SAMVEL GASPAROV
ACTORS: B.STUPKA, E.LEONOV-GLADYSHEV, K.STEPANKOV AND OTHERS.

THE PIRATES OF XX CENTURY. 1979.
DIRECTED BY BORIS DUROV
ACTORS: N.EREMENKO, P.VELIAMINOV, T.NIGMATULIN AND OTHERS.

THE FAILURE OF THE OPERATION TERROR. 1980.
DIRECTED BY ANATOLY BOBROVSKY
ACTORS: K.HAMEC, S.SHAKUROV, E.CIPLAKOVA AND OTHERS.

THE STORY OF THE STRANGER. 1980.
DIRECTED BY VITAUTAS JELAKAVICHUS
ACTORS: E.SIMONOVA, A.KAIDANOVSKY, G.TARATORKIN AND OTHERS.

TEHERAN-43. 1980.
DIRECTED BY ALEXANDER ALOV, VLADIMIR NAUMOV
ACTORS: I.KOSTOLEVSKY, N.BELOHVOSTIKOVA, A.DELON AND OTHERS.

THE SIXTH. 1981.
DIRECTED BY SAMVEL GASPAROV
ACTORS: S.NIKONENKO, M.KOSAKOV, M.PUGOVKIN AND OTHERS.

DECEMBER, 20. 1981.
DIRECTED BY GRIGIRY NIKULIN
ACTORS: K.LAVROV, M.KOSAKOV, S.URSKY AND OTHERS.

MY FRIEND IVAN LAPSHIN. 1981.
DIRECTED BY ALEXEI GERMAN
ACTORS: A.BOLNEV, A.MIRONOV, N.RUSLANOVA AND OTHERS.

EVERY TENTH. 1983.
DIRECTED BY MIKCHAIL ORDOVSKY
ACTORS: R ZAITSEVA, L.BORISOV, V.EREMIN AND OTHERS.

3. THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA-ART : The Stage of late 80's-90's

The aims of the seminar is

- to see one of the most typical Russian film(s) of the late 80's-90's (with the theme of mass or individual terror);

-  to discuss this film(s) with students in the context of the previous lecture.

-  the development of the creative & critic mentality of students, their faculties for the perception, interpretation, analysis and the appraisal of the author's position in the film(s) .

The content of seminar:

- the purpose for perception (introductory speech of professor or special prepared student about the historical, political and sociocultural context, about the theme and genre of film(s), about the authors of this film(s), etc.);

- watching the film(s);

- the collective discussion of a film(s): the artistic analysis of the film(s) - the consideration of the episodes' contents, with the maximum brightness embodying the typical conformmity to natural laws of the film on the whole;

- the analysis of the logic of author's mentality; the definition of the author's conception and the basis of the personal attitude of students to that or another position of the creators of the film(s)

- the typical questions : What is the culmination episodes of the film? What is the main film conflict? What is the hero's character? What is the author's conception of this film? What is the author's position about mass or individual terror? What is the difference between the interpretation of theme of mass & individual terror in the Russian cinema of 30's - 40's, 50-s-70-s and 80-s-90-s, etc.

The Russian films of late 80's- 90's (on the theme of the seminar):

GO AND WATCH. 1985.
DIRECTED BY ELEM KLIMOV
ACTORS: A.KRAVCHENKO O.MIRINOVA, L.LAUCAVICHUS AND OTHERS.

THE COUNTERACTION. 1985.
DIRECTED BY SEMEN ARANOVICH.
ACTORS: O.BASILASHVILI, A.BOLTNEV, U.KUZNETSOV AND OTHERS.

THE SIGN OF THE MISFORTUNE. 1986.
DIRECTED BY MIKCHAIL PTASHUK
ACTORS: N.RUSLANOVA, G.GARBUK, V.GOSTUHIN AND OTHERS.

PLUMBUM. 1986.
DIRECTED BY VADIM ABDRASHITOV
ACTORS: A.ANDROSOV, E.JAKOVLEVA, A.FECLISTOV AND OTHERS.

TOMORROW WAS THE WAR. 1987.
DIRECTED BY URY KARA
ACTORS: S.NIKONENKO N.RUSLANOVA, J.TARHOVA AND OTHERS.

GOOD BAY, THE GAYS FROM ZAMOSKVORETSK... 1987
DIRECTED BY ALEXANDER PANKRATOV
ACTORS: S.MAKAROV, L.BORODINA, N.DOBRYNIN AND OTHERS.

THE ADVOCATE SEDOV. 1988.
DIRECTED BY EUGENY TSIMBAL
ACTORS: V.ILIN, A.MATVEEVA, I.SUKACHEV AND OTHERS.

HELL.1989
DIRECTED BY GENNAGY BEGLOV
ACTORS: D.KOMOV, I.KOMOVA, E.TOCHENOVA AND OTHERS.

NO LIMITS. 1989.
DIRECTED BY IGOR GOSTEV
ACTORS: A.TASHKOV, A.ANDROSOV, L.DUROV AND OTHERS.

THE PAPER EYES OF PRISHVIN. 1989.
DIRECTED BY VALERY OGORODNIKOV
ACTORS: A.ROMANTSOV, P.RUDAKOV, O.KOVALOV AND OTHERS.

THE LOW. 1989.
DIRECTED BY VLADIMIR NAUMOV
ACTORS: U.SHLYKOV, N.BELOHVOSTIKOVA, E.MAJOROVA AND OTHERS.

THE REED PARADISE. 1989.
DIRECTED BY ELENA CIPLAKOVA
ACTORS: N.STOTSKY, A.BUREEV, AV.KRAVCHENKO AND OTHERS.

THE GUARD. 1989.
ACTORS: A.BULDAKOV, S.KUPRIANOV, A.POLUJAN AND OTHERS.

COMA. 1989.
DIRECTED BY NIOLE ADOMENAITE & BORIS GORLOV
ACTORS: N.NIKULENKO, A.BASHIROV, O.KRUTIKOV AND OTHERS.

THE GOLDEN CLOUD SLEPT... 1989
DIRECTED BY SULAMBEK MAMILOV
ACTORS: A.BASHKIROVA, V.BASHKIROV, I.BORTNIK AND OTHERS.

OUR GOOD. 1989.
DIRECTED BY BORIS ERMOLAEV
ACTORS: M/TEREHOVA, V.NIKULIN, V.MENSHOV AND THERS.

THE FEASTS OF VALTASAR, OR THE NIGHT WITH STALIN.1989.
DIRECTED BY URY KARA
ACTORS: A.PETRNKO, V.GAFT, A.FEKLISTOV AND OTHERS.

IN RUSSIA THERE'S AGAIN DEVIL'S DAY.1990.
DIRECTED BY VLADIMIR VASILKOV
ACTORS: T.IPATOVA, E.BELONOGOV, M.IVANOV AND OTHERS.

ENEMY OF PEOPLE - BUKHARIN. 1990.
DIRECTED BY LEONID MARIAGIN
ACTORS: A.ROMANTSOV, S.SHAKUROV, E.LASAREV AND OTHERS.

WOMAN TAILOR. 1990.
DIRECTED BY LEONID GOROVITS
ACTORS: I.SMOKTUNOVSKY, T.VASILIEVA, E.KOSELKOVA AND OTHERS.

DO - ONE! 1990
DIRECTED BY ADREI MALUKOV
ACTORS: E.MIRINOV, V.MASHKOV, A.DOMOGAROV AND OTHERS.

THE DAY OF LOVE. 1990.
DIRECTED BY ALEXANDER POLYNNIKOV
ACTORS: A.BOLTNEV, S.GASAROV, A.NASARIEVA AND OTHERS.

THE TEN YEARS WITHOUT THE RIGHT OF THE CORRESPONDENCE. 1990.
DIRECTED VLADIMIR NAUMOV
ACTORS: B.SCHERBAKOV, N.BELOHVOSTIKOVA, A.PANKRATOV-CHERNY AND OTHERS.

THE SAVAGE BITCH. 1990.
DIRECTED BY NATALIA KIRAKOSOVA
ACTORS: A.PONIMAREV, E.VNUKOVA, A.GUSKOV AND OTHERS.

DINA. 1990.
DIRECTED BY FEDOR PETRUHIN
ACTORS: T.SKOROHODOVA, I.SMOKTUNOVSKY, M.BULGAKOVA AND OTHERS.

NIKOLAI VAVILOV. 1990.
DIRECTED BY ALEXANDER PROSHKIN
ACTORS: K.SMORGINAS, A.MARTIANOV, I.KUPCHENKO AND OTHERS.

THE FUNERAL OF STALIN. 1990.
DIRECTED BY EUGENY EVTUSHENKO
ACTORS: D.KONSTANTINOV, A.BATALOV, E.EVTUSHENKO AND OTHERS.

MADE IN USSR. 1990.
DIRECTED BY SVIATOSLAV TARAHOVSKY & VLADIMIR SHAMSHURIN
ACTORS: A.DJIGARHANIAN, A.KLUKA, L.KURAVLEV AND OTHERS.

CRAZY BAS. 1991.
DIRECTED BY GEORGY NATANSON
ACTORS: I.CALNYNSH, I.BOCHKIN, A.SAMOHINA AND OTHERS.

THE GANGSTERS OF OCEAN. 1991.
DIRECTED STEPAN PUCHINIAN
ACTORS: A.SAMOHINA, A.MIKCHAILOV, L.DUROV AND OTHERS.

THE GOVERNOR. 1991.
DIRECTED BY VLADIMIR MAKERANETS
ACTORS: B.HIMICHOV, I.KRASKO, S.VARCHUK AND OTHERS.

LOST IN SIBERIA. 1991.
DIRECTED ALEXANDER MITTA.
ACTORS: A.ANDRUS, V.ILIIN, E.MAJOROVA AND OTHERS.

GO AWAY! 1991.
DIRECTED BY DMITRY ASTRAHAN
ACTORS: O.MEGVINETUHUCICI, E.ANISIMOVA, T.KUSNETSOVA AND OTHERS.

THE CREATURE OF HELL. 1991.
DIRECTED BY VASILY PANIN
ACTORS: G.TARATORKIN, K.LAVROV, V.SAMOILOV AND OTHERS.

THE MYTH OF LEONID.1991.
DIRECTED BY DMITRY DOLININ
ACTORS: S.GAMOV, A.NEVOLINA, B.BIRMAN AND OTHERS.

THE TSAR'S MURDERER. 1991.
DIRECTED KAREN SHAHNAZAROV
ACTORS: McDOWELL, O.JANKOVSKY, A.DJIGARHANIAN AND OTHERS.

TSAR IVAN TERRIBLE. 1991.
DIRECTED BY GENNADY VASILIEV
ACTORS: I.TALKOV, K.KAVSADZE, S.LUBSHIN AND OTHERS.

SPECIAL POLICE OFFICER. 1991.
DIRECTED BY ALEXANDER ROGOJKIN
ACTORS: I.SEERGEEV, A.POLUJAN, N.USATOVA AND OTHERS.

THE COLD. 1991.
DIRECTED BY HUSEIN ERKENOV
ACTORS: N.EREMENKO, O.POTOTSKA, O.VASILIEV AND OTHERS.

INNER CIRCLE. 1992.
DIRECTED BY ANDREI KONCHALOVSKY
ACTORS: T.HALS, L.DAVIDIVICH, B.HOSKINS AND OTHERS.

MOSCOW PARADE. 1992.
DIRECTED BY IVAN DYHOVICHNY
ACTORS: A.FEKLISTOV, U.LAMPER, S.MAKOVETSKY AND OTHERS.

THE HORSE WHITE. 1993.
DIRECTED BY GELY RIABOV
ACTORS: A.GUZENKO, G.GLAGOLEV, V.ISOTOVA AND OTHERS.

TROTSKY. 1993.
DIRECTED BY LEONID MARIAGIN
ACTORS: I.SAVINA, V.SERGACHEV, E.JARIKOV AND OTHERS.

THE PLANE FLY TO RUSSIA. 1994.
DIRECTED BY ALEXEI KAPILEVICH
ACTORS: A.ANKUNDINOV, S.LOSEV, S.PARSHIN AND OTHERS.

BURNT BY THE SUN. 1994.
DIRECTED BY NIKITA MIKCHALKOV
ACTORS: O.MENSHIKOV, N.MIKCHALKOV, I.DAPKUNAITE AND OTHERS.

WOLF'S BLOOD. 1995.
DIRECTED BY NIKOLAI STAMBULA
ACTORS: E.SIDIHIN, A.KASAKOV, R.ADOMAITIS AND OTHERS.

THE TIME OF SADNESS NOT COMES YET. 1995.
DIRECTED BY SERGEI SELIANOV
ACTORS: V.PRIOMYHOV, P.MAMONOV, M.LEVTOVA AND OTHERS.

THE ROAD TO THE EDGE OF LIFE. 1995.
DIRECTED RUBEN MUREDIZN
ACTORS: N.FATEEVA, A.PASHUTIN, V.PROSLURIN AND OTHERS.

WHAT WONDERFUL GAME! 1995.
DIRECTED BY PIOTR TODOROVSKY
ACTORS: A.ILIIN, G.NAZAROV, L.UDOVICHENKO AND OTHERS.

FROM HELL TO HELL. 1996.
DIRECTED BY DMITRY ASTRAHAN
ACTORS: V.VALEEVA, A.KLING, A.KLUKA AND OTHERS.

THE PRISONER OF MOUNTAIN. 1996.
DIRECTED BY S.BODROV
ACTORS: O.MENSHIKOV, S.BODROV-JUN., A.JARKOV AND OTHERS.

TWO MOONS, THREE SUNS. 1998.
DIRECTED BY ROMAN BALAJAN
ACTORS: V.MASHKOV, E.SHEVCHENKO, K.STEPANKOV AND OTHERS.

HRUSTALEV, THE CAR! 1998.
DIRECTED BY ALEXEI GERMAN                                                                                                                                               

ACTORS: U.TSURILLO, N.RUSLANOVA, A.ZHARKOV, A.BASHIROV AND OTHERS.

ROMANOV: THE TSAR'S FAMILY. 2000.
DIRECTED BY GLEB PANFILOV
ACTORS: A.GALIBIN, L. BELINHEM, K.KACHALINA AND OTHERS.

IV. Assessment

Outline of Student Assessment

The criteria of studying the cinema-art's development of a student audience:

1. the sensory criterion: the frequency of the association with the cinema art, the skill to orientate themselves in their stream - that is to choose favorite genres, themes and so on;

2.  the understanding criterion: the knowledge of the history of Russian cinema art, concrete works of the cinematograph, including films with the theme of Mass and Individual terror;

3.  criterion of the motivation: the emotional, hedonistic, compensatory, aesthetic and other motives of the contact with the cinema art;

4.  the appraisal, interpretative criterion: the level of the perception, the faculty for the audiovisual thinking, the independent critical analysis and synthesis of the space and time form of the narration of the cinema art's work (including , the identification with the hero and author, the understanding and appraisement of the author's conception;

5.  the creative criterion: the level of the creative basis in the different aspects of the activity, first of all - perceptional, aesthetic, analytical.

Basing on the different classifications of the standards of the aesthetic perception, suggested in the researches, and connected with the problems of the Media education, I came to the following variant, corresponding to the aims and tasks of my program:

1. the standard of the ''initial identification'': the emotional, psychological coherence with the screen environment and the plot /bond of the events/ of the narration;

2.  the standard of the ''second identification'': the identification with the hero of the work of a cinema art;

3.  the standard of the ''complex identification'': the identification with the author of the work of the cinema art, preserving the ''initial'' /primary/ and ''secondary'' identification /with the following interpretation/.

Assessment of a student:

For an excellent mark:

- high level of the understanding criterion , the appraisal, interpretative criterion, the creative criterion.

-  high level of ''complex identification''.

-  high level of knowledge of the History of Russian cinema

V. Reading list

Outline of reading per lecture.

Books for Lecture 1.

THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA- ART

The Stage of the 30's.

1. AFANASIEV U. METASTASES OF STALINISM// CINEMA ART. - 1989. - N 1.

2.  BERNSHTEIN A. CONVICTED AS PEOPLE'S ENEMIES...//CINEMA ART. - 1993. - N 3. - P. 92-99.

3.  CHERNENKO M. SHOT COURSES...//CINEMA ART. - 1993. - N 3. - P. 30-35.

4.  CHRONICLE OF THE HUMANITY: ENCYCLOPAEDIA |RED. B.HARNBERG. - MOSCOW, 1996. - 1200 P.

5.  DERIABIN A. THE DISCRETE FASCINATION OF GIPNOTISM: MECHANISM OF THE INFLUENCE OF SOVIET CINEMA OF 30-S - EARLY 50-S // DOORS.-MOSCOW, 1993. - P. 17-31.

6.  ESENSHTEIN S. SELECT WORKS. VOL. 1-6. MOSCOW, 1964.

7.  GINSBOURG S., ZAK M., URENEV R. AND OTHERS. HISTORY OF SOVIET CINEMA. VOL. 2. MOSCOW, 1973.

8.  GROSHEV A., GINSBOURG S., LEBEDEV N., DOLINSKY I. AND OTHERS. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1969.- 616 PP.

9.  JOUNGBLOOD D.. SOVIET CINEMA. ED. UNIVERSITY OF TEXAS PRESS, 1993.

10.  KATZ. E. THE FILM ENCYCLOPEDIA. NY 1979.

11.  KLIMONTOVICH N. THEY AS SPIES// CINEMA ART. - 1990. - N 11. - P. 113-122.

12.  MAMATOVA L. AND OTHERS. CINEMA: THE POLICY AND PEOPLE (THE 30-S).- MOSCOW, 1995. - 231 PP.

13.  MAMATOVA L. THE MODEL OF CINEMA-MYTH 30-S//CINEMA ART.- 1991. - N 3.

14.  MITRY J. HISTOIRE DU CINEMA. PARIS, 1980.

15.  PREDAL R.. HISTOIRE DU CINEMA. PARIS. ED. CORLET, 1994. - 200 P.

16.  STALIN AND CINEMA//CINEMA ART.- 1993. - N 3. - P.100-102.

17.  TUROVSKAJA M. AND OTHERS. CINEMA OF TOTALITARIAN EPOCH. MOSCOW, 1989. - 50 P.

18.  URENEV R.. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1979.

19.  URENEV R. SOVIET CINEMA ART OF 30-S.- MOSCOW,1997.- 110 P.

Books for Lecture 2.

THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA- ART

The Stage of the 40's.

1. CHRONICLE OF THE HUMANITY: ENCYCLOPAEDIA |RED. B.HARNBERG. - MOSCOW, 1996. - 1200 P.

2.  DERIABIN A. THE DISCRETE FASCINATION OF GIPNOTISM: MECHANISM OF THE INFLUENCE OF SOVIET CINEMA OF 30-S - EARLY 50-S // DOORS.-MOSCOW, 1993. - P. 17-31.

3.  ESENSHTEIN S. SELECT WORKS. VOL. 1-6. MOSCOW, 1964.

4.  GINSBOURG S., ZAK M., URENEV R. AND OTHERS. HISTORY OF SOVIET CINEMA. VOL. 3. MOSCOW, 1975.

5.  GROSHEV A., GINSBOURG S., LEBEDEV N., DOLINSKY I. AND OTHERS. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1969. - 616 PP.

6.  JOUNGBLOOD D.. SOVIET CINEMA. ED. UNIVERSITY OF TEXAS PRESS, 1993.

7.  KATZ. E. THE FILM ENCYCLOPEDIA. N.Y. 1979.

8.  KLEIMAN N. THE WORLD WITHOUT THE WAR. MOSCOW, 1995 - 48 P.

9.  MITRY J. HISTOIRE DU CINEMA. PARIS, 1980.

10.  PREDAL R.. HISTOIRE DU CINEMA. PARIS. ED. CORLET, 1994. - 200 P.

11.  SHMYROV V. OLD MEFISTO (M.CHIAURELI)// CINEMA ART. - 1989. - N 8.

12.  TUROVSKAJA M. AND OTHERS. CINEMA OF TOTALITARIAN EPOCH. MOSCOW, 1989. - 50 P.

13.  TUROVSKAJA M. THE FILMS OF COLD WAR //CINEMA ART.- 1996. - N 9. - P. 98-106.

14.  URENEV R.. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1979.

Books for Lecture 3.

THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA- ART

The Stage of the 50's - Early 80's.

1. ANNINSKY L. THE 60-S AND WE. MOSCOW,1991 - 255 PP.

2.  CHRONICLE OF THE HUMANITY: ENCYCLOPAEDIA |RED. B.HARNBERG. - MOSCOW, 1996. - 1200 P.

3.  FOMIN V. CINEMA AND POWER: SOVIET CINEMA OF 1965-1985. MOSCOW, 1996. - 372 P.

4.  GINSBOURG S., ZAK M., URENEV R. AND OTHERS. HISTORY OF SOVIET CINEMA. VOL. 4. MOSCOW, 1978.

5.  GROSHEV A., GINSBOURG S., LEBEDEV N., DOLINSKY I. AND OTHERS. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1969. - 616 PP.

6.  JOUNGBLOOD D.. SOVIET CINEMA. ED. UNIVERSITY OF TEXAS PRESS, 1993.

7.  KATZ. E. THE FILM ENCYCLOPEDIA. N.Y. 1979.

8.  KLEIMAN N. THE WORLD WITHOUT THE WAR. MOSCOW, 1995 - 48 P.

9.  MAKSIMOV A. ELUSIVE S DEVILS// RAKURS.-MOSCOW, 1996. - P. 105-139.

10.  MARGOLIT E., SHEMIAKIN A. AND OTHERS. THE CINEMA OF THE THAW.- MOSCOW, 1996.

11.  MITRY J. HISTOIRE DU CINEMA. PARIS, 1980.

12.  PREDAL R.. HISTOIRE DU CINEMA. PARIS. ED. CORLET, 1994. - 200 P.

13.  STISHOVA E. PASSIONS OF COMISSAR// CINEMA ART. - 1989. - N 1.

14.  URENEV R.. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1979.

15.  VLASOV M. AND OTHERS. SOVIET CINEMA 70-S-EARLY 80-S. MOSCOW, 1997 .- 182 P

Books for Lecture 4.

THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA- ART

The Stage of the ate 80's -90'.

1. CHERNENKO M. SHOT COURSES...//CINEMA ART. - 1993. - N 3. - P. 30-35.

2.  CHRONICLE OF THE HUMANITY: ENCYCLOPAEDIA |RED. B.HARNBERG. - MOSCOW, 1996. - 1200 P.

3.  CINEMANIA: ENCYCLOPAEDIA OF RUSSIAN CINEMA. - MOSCOW, 1997.

4.  BOJOVICH V. FROZEN NATURE/’THE INNER CIRCLE’//CINEMA ART. -1993.- N1.

5.  DOBROTVORSKY S. THE MYTH , THE LIE AND THE TRUE //CINAMA ART.-1993.-N 3.- P.35-37.

6.  ENCYCLOPAEDIA OF CINEMA.- K&M. MOSCOW, 1998.

7.  JABSKY M. AND OTHERS. THE TEST OF CONCURRENCE. MOSCOW, 1997. - 121 P.

8.  MATIZEN V. CUTTING TROTSKY/(TROTSKY)/ CINEMA ART. - 1994. - N 5. - P. 144.

9.  PREDAL R.. HISTOIRE DU CINEMA. PARIS. ED. CORLET, 1994. - 200 P.

10.  ZAK M. AND OTHERS. RUSSIAN CINEMA: THE PARADOXES OF RENOVATION. MOSCOW, 1995. - 142 P.

VI. Teaching Methodology.

Synthesis of lectures and seminars with the common discussions about Russian films (with help of VCR and video-cassettes) on the theme 'Mass and Individual Terror in the Mirror of the Russian Cinema Art'. The base of special criteria of student's knowledge and analytic, critical abilities, of the level of aesthetic perception.