books by julia vassilieva
The first € price and the £ and $ price are net prices, subject to local VAT. Prices indicated wi... more The first € price and the £ and $ price are net prices, subject to local VAT. Prices indicated with * include VAT for books; the €(D) includes 7% for Germany, the €(A) includes 10% for Austria. Prices indicated with ** include VAT for electronic products; 19% for Germany, 20% for Austria. All prices exclusive of carriage charges. Prices and other details are subject to change without notice. All errors and omissions excepted.
In the wake of the debates over high/low culture distinction spilling into the effective dismantl... more In the wake of the debates over high/low culture distinction spilling into the effective dismantling of the boundary that once separated them, the past decade has seen the explosion of ?bad taste? production on screen. Starting with paracinema or ?badfilm? ? a movement that has grown up around sleazy, excessive, or poorly executed B-movies and has come to encompass disreputable and unworthy films ? this trend has been evident in various formats: on television and in video-art, low-budget and straight to TV films, amateur and home movies. The proliferation of trash on screen can be seen as delivering the final blow to the vexed issue of taste.
More importantly, it prompts a reconsideration of some critical issues surrounding production, circulation, understanding and teaching of ?bad objects? in the media. This collection of essays, written by international film and television scholars, provides detailed critical analysis of the issues surrounding judgements of cultural value and taste, feeling and affect, cultural morals and politics, research methodologies and teaching strategies in the new landscape of ?after taste? media. Addressing global and local developments ? from global Hollywood to Australian indigenous film and television, through auteurs Sergei Eisenstein to Jerry Bruckheimer, on to examples such as Twilight to Sukiyaki Western Django ? the essays in this book offer a range of critical tools for understanding the recent shifts affecting cultural, aesthetic and political value of the moving image.
Papers by julia vassilieva
Deleted Journal, Jan 6, 2020
Intellect Books, Feb 20, 2015
Oxford Research Encyclopedia of Psychology
The interdisciplinary connections between psychology, the humanities, and the arts in Russia play... more The interdisciplinary connections between psychology, the humanities, and the arts in Russia played a powerful role in delineating the unique character of the psychological field in the country. During the 19th and early 20th centuries an approach in Russian psychology that drew on the work of philosophers and theologists, art and literature critics, poets and writers represented a powerful current in the Russian quest for self-understanding. The interdisciplinary exchanges between psychology, sciences, and the arts intensified after the October Revolution of 1917. The revolution’s imperative of reshaping the world in a socialist mold ushered in a period of bold experimentation in the arts and the formulation of similarly ambitious research agendas in the sciences. The first 15 years following the revolution saw intense traffic between scientific laboratories, research institutes, and teaching institutions, on the one hand, and theaters, art studios, and the cinema industry, on the ...
Sergei Eisenstein’s 110th anniversary celebrated last year calls for a re-assessment ... more Sergei Eisenstein’s 110th anniversary celebrated last year calls for a re-assessment of his overall heritage, which until now has been customarily perceived in Western film scholarship as — in Annette Michelson’s words — “indissolubly linked to the project of construction of socialism” — a view shared from Marie Seton to Jacques Aumont, from Kristin Thompson to Ian Christie and from David Bordwell to Anna Bohn. Not only did Eisenstein’s output magnificently and persuasively outlive this project, but from our vantage point at the beginning of the twenty- first century we can see its position within the complex tapestry of the cultural, philosophical, political and aesthetic developments of the twentieth century from a different angle. Drawing on the recently published in Russia Eisenstein’s magnum opus Method and the author’s research on stil...
Amsterdam University Press, Jul 6, 2020
The editors would like to acknowledge the help of all the people involved in this project and, fi... more The editors would like to acknowledge the help of all the people involved in this project and, first of all, the late Thomas Elsaesser. Without his support and guidance, this book would not have become a reality. Our sincere gratitude goes to the chapter's authors for their wonderful texts. We would like to thank Janice Loreck for her research assistance in preparing this volume and the editorial team at Amsterdam University Press-Maryse Elliot, Mike Sanders, Chantal Nicolaes, and Danielle Carter-for contributing their time and expertise to this book. Special thanks are due to Adrian Martin for translating into English, for the first time, Raymond Bellour's 'Trente-cinq ans après: le "texte" a nouveau introuvable?', written in 2009, and collected in Raymond Bellour's La Querelle des dispositifs. Cinéma-installations, expositions (Paris: P.O.L, 2012), pp. 124-137. It is reprinted with permission of the author and publisher.
The Eisenstein Universe, 2021
Beyond the Essay Film, 2020
In this chapter, I explore the relevance of early Russian montage theory and practice to new issu... more In this chapter, I explore the relevance of early Russian montage theory and practice to new issues raised by the shift from the essay film to the audiovisual essay. I investigate how, specifically, Sergei Eisenstein’s vision of the new type of cinema of ideas formulated in his project for filming Marx’s Das Kapital, Dziga Vertov’s foregrounding of subjectivity and reflexivity in The Man with a Movie Camera, and Esphir Shub’s practice of ‘compilation film’ contributed to the emergence of the essay film and continue to stimulate the theory and practice of the audiovisual essayism.
This chapter explores philosophical aspects in Eisenstein's theorising. Part of the colle... more This chapter explores philosophical aspects in Eisenstein's theorising. Part of the collection "Film as Philosophy"; Book Editor(s): Bernd Herzogenrath Published by: University of Minnesota Press. (2017)
Projections, 2019
This article analyzes the unique historical collaboration between the revolutionary Russian film ... more This article analyzes the unique historical collaboration between the revolutionary Russian film director Sergei Eisenstein (1898–1948), the cultural psychologist Lev Vygotsky (1896–1934), and the founder of contemporary neuropsychology, Alexander Luria (1902–1977). Vygotsky’s legacy is associated primarily with the idea that cultural mediation plays a crucial role in the emergence and development of personality and cognition. His collaborator, Luria, laid the foundations of contemporary neuropsychology and demonstrated that cultural mediation also changes the functional architecture of the brain. In my analysis, I demonstrate how the Eisenstein-Vygotsky-Luria collaboration exemplifies a strategy of productive triangulation that harnesses three disciplinary perspectives: those of cultural psychology, neuropsychology, and film theory and practice.
The Grierson Effect, 2014
Narrative Psychology, 2016
Narrative Psychology, 2016
Studies on Eisenstein and Russian Cinema in Honor of Naum Kleiman — Edited by Joan Neuberger and ... more Studies on Eisenstein and Russian Cinema in Honor of Naum Kleiman — Edited by Joan Neuberger and Antonio Somaini, ÉDITIONS MIMÉSIS, 2017
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books by julia vassilieva
More importantly, it prompts a reconsideration of some critical issues surrounding production, circulation, understanding and teaching of ?bad objects? in the media. This collection of essays, written by international film and television scholars, provides detailed critical analysis of the issues surrounding judgements of cultural value and taste, feeling and affect, cultural morals and politics, research methodologies and teaching strategies in the new landscape of ?after taste? media. Addressing global and local developments ? from global Hollywood to Australian indigenous film and television, through auteurs Sergei Eisenstein to Jerry Bruckheimer, on to examples such as Twilight to Sukiyaki Western Django ? the essays in this book offer a range of critical tools for understanding the recent shifts affecting cultural, aesthetic and political value of the moving image.
Papers by julia vassilieva
More importantly, it prompts a reconsideration of some critical issues surrounding production, circulation, understanding and teaching of ?bad objects? in the media. This collection of essays, written by international film and television scholars, provides detailed critical analysis of the issues surrounding judgements of cultural value and taste, feeling and affect, cultural morals and politics, research methodologies and teaching strategies in the new landscape of ?after taste? media. Addressing global and local developments ? from global Hollywood to Australian indigenous film and television, through auteurs Sergei Eisenstein to Jerry Bruckheimer, on to examples such as Twilight to Sukiyaki Western Django ? the essays in this book offer a range of critical tools for understanding the recent shifts affecting cultural, aesthetic and political value of the moving image.