Leonid Gayday's Film Ivan Vasilievich : Back To The Future

The Cold War was a period from 1947 to 1991 that adhered erratic tension and constant threat of nuclear conflict between the two remaining superpowers that emerged from WWII, the U.S. and the Soviet Union. The 1964 film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, directed by Stanley Kubrick, depicts the overlying themes of the Cold War in a comedic fashion. This film’s full embodiment of the Cold War is seen through its representation of the time period, and the sheer competitiveness between the United States and Russia. Additionally, due to many of Kubrick’s movie decisions, the film has helped society

The movies WarGames and Dr. Strangelove (or: How I Learned to Stop Worrying and Love the Bomb) provide incredibly interesting narratives that provide two different narratives regarding public perception of the cold war and nuclear weapons. WarGames made the statement that tensions during the Cold War were so high that a teenager playing a videogame could set off a nuclear war, while Dr. Strangelove simply ridiculed the attitudes of those involved in the Cold War and mocked those who took it seriously, under the pretense that mutually assured destruction would prevent any real war from breaking out (and as a plot device to depict irony). In reality, the American public was in constant fear of the outbreak of war during the period of time in

Dr. Strangelove is a comedy about the Cold War intended for a young adult or adult audience due to the topic of the Cold War not being understood easily by children. The reason for creating this film is for the comedic spin on a very serious historical event, making it truly a one of a kind movie.

|date, Lenina, find two white people, which is odd, a mother and son. Turns out the father is the Director. They take them back to civilization and present them to the |

Shukhov could not dwell on his past even if he wanted to due his situation in the camps. Little by little he forgot what life was outside of it. With spending 8 years in the labor camps, Shukhov had little to remind him what home looked like. “As time went by, he had less and less to remind him of the village of Temgenyovo and his cottage home. Life in the camp kept him on the go from getting-up time to lights-out. No time for brooding on the past” and “Since he’d been in the camps Shukhov had thought many a time of the food

Taking place in East Germany, 1989, the movie is about a family consisting of a mother, son, and daughter. The mother, Christiane, is a strong socialist and a party member of the German Democratic Republic (GDR). Christiane was dramatically shaken, but it only increased her passion for the GDR. One day, she witnesses her son, Alex, protesting in an anti-Berlin Wall demonstration and being apprehended by the police. Christiane suffers a heart attack from the sight and goes into a coma for 8 months. During that time period, much has changed, including the fall of the Berlin wall, the GDR being dissolved, and the reunification of West and East Germany. With the fall of the Berlin wall, socialism in on the decline and capitalism begins to

In One Day in the Life of Ivan Denisovich, Aleksandr Solzhenitsyn shows how Soviet prisoners, known as Zeks, are treated while being in the gulag for one day through the eyes of the protagonist and omniscient narrator named Ivan Denisovich Shukhov. Despite being in an environment such as the Soviet Union, where there is harsh tundra and not much food to eat, Shukhov tries to make good use of what he has received while trying to keep himself alive. The purpose of Solzhenitsyn’s portrayal of food is to show its overall significance and that it is used as a means of trade and survival. Over time, the power of food reveals its significance to the Zeks and especially to Shukhov and food allows both groups understanding towards the necessity of food for their vitality and well-being additionally.

At no point in time did the couple attempt to privatize their lifestyle by putting up curtains to cover the window. Seeing as Diane also choose the same position to live with no curtains covering the window as she was younger and now as mother of a three year old child, she can relate to how that lifestyle brought her happiness. The couple’s style of living reminded her of how she used to live to point that they became a symbol of her younger years. After some time, Diane became engrossed with their lives. Their lives grew into a part of her life as her fascination drew her closer; she even picked up on the smaller things in their lives, such as the buying a new pot for plants. In subsequent time, the couple was forgotten over the seven to eight month period of time in which the couple had become absent to their room and only the girl would be seen from time-to-time. Following this, Diane saw a chubby in the room with a skeletal bald man. She came to the conclusion that he was terribly sick and she started to watch the window all the time. Over some time, the man would just be seen lying in bed curled up with his head to the window. He dwindled in size as the days passed and one day, with a notice from her husband, she gained knowledge of activity going on in the couple’s bedroom. She saw that people had gathered around the man in this room to give their goodbyes.

A young couple living in Brooklyn, NY was about to get caught up in the anti-communist hysteria with serious consequences for them and their two young sons. The sons, Robert and Michael, would live their lives in the shadow of their parents, Julius and Ethel

The Cold War was a period of several decades of tension and the threat of nuclear conflict between the two remaining superpowers that emerged from WWII, the U.S. and the Soviet Union. The 1964 film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, directed by Stanley Kubrick, depicts the overlying themes of the Cold War in a comedic fashion. This film’s full embodiment of the Cold War is seen through its representation of the time period, and the sheer competitiveness between the United States and Russia. Additionally, due to many of Kubrick’s movie decisions, the film has helped society

In addition to scenery, the props strategically placed around the housed illustrated the family’s cares and values. Throughout the room, the audience could see many picture frames. However, the two that were predominately displayed were a picture of Christ hanging over the front door, and a picture of Lena’s deceased husband that stayed on a table in the living room. These props emphasized importance the Younger’s placed on family and religion, which came up many times throughout the production. The entire family lived under one roof, looking after one another and making ends meet, together as a whole. In addition, the plot centered around a life-insurance check from the death of Lena’s husband. This kept the element of religion present since he was deceased and in the eyes of Lena, watching over the family. Both the design of the apartment and the detail of the props within it gave the audience a greater understanding of the deep-rooted values and conflicts of the family.

- Desire for more. once sonya sees something better, she can't live with the old. While Russian Jews historically didn't have much, Sonya was the opposite. Like a child seeing the latest toy. Assimilation manifests itself as promises of bountifulness

Great post, I found the ban on Hollywood very interesting. There were the well known called the "Hollywood Ten" and others within the entertainment industry that were imprisoned. Also, there were many talented actors, actresses, writers, dancers, singers and many others in the industry that were "blacklisted" due to alleged communist ties or refusal to cooperate.

Afterwards, Anderson goes back in time and reveals how the life of a genius, Shostakovich, was affected by a series of war conflicts including a revolution and World War I. Then, in October 1917, he also witnessed the birth of a Communist Russia after Vladimir Lenin and the Bolsheviks seized power. For a brief period, this new government supported and encouraged artists to develop their talents. The city became a place where “new art, new music, and new drama had to be found for a new world where workers ruled” (p. 37).

Vladimir Men’shov’s Moscow Does Not Believe in Tears (1979) is a Soviet melodrama that focuses on the fate of three working-class women in the glamorous city of Moscow. The film reflects the socialist ideologies by telling the story of the individual characters and their struggles in life. Liuda, Katia, and Tonia once lived in the same workers’ dorm, but when they grew older, they led different paths of lives. The results of their lives are determined by their attitude and their contribution to the society.