Adapting Russian and Soviet Film Heritage for Public Audiences in Europe and the UK
- Submitting institution
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University of Greenwich
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 27186-MCO-MK1
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- A multicomponent output
- Open access status
- -
- Month
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- Year
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Russian and Soviet film heritage occupies a special place in the histories and practices of European cinema. Yet, historically, full access to it for the European public and researchers was only possible after the collapse of the Soviet Union in 1991. While having become an important part of education curricula in the West, and having been widely researched in English-speaking academia, this film heritage remains largely invisible to the general public outside of Russia and post-Soviet space. My research fills this gap: as practice as research, it brings together a series of interdisciplinary and cross-cultural public collaborations to spotlight Russian language cinema in the UK and Europe; it reflects on how such engagement is addressed by established academic research in film studies and public engagement field; and it creates a practice of film curation of national-based material in a multicultural context. The methodology combines two approaches: (1) it produces a complex multi-disciplinary practice with multiple stakeholders curating Russian and Soviet film heritage in the UK and Europe; (2) this curatorial practice is addressed by the author’s ongoing research into Russian and Soviet film, and reflection on its context and results. The dissemination of this research includes publications, international conference proceedings, and research workshops, and 40 large and small scale screenings in London, St Andrews and Paris, including sold out venues such as the Barbican Hall and the Regent Street Cinema. The project has demonstrated that the niche subject of Russian film can be successfully adapted to foreign audiences by building rewarding partnerships between academia, arts institutions, sponsors and artists in order to identify shared values and opportunities. It has significantly influenced the perception of Russian films among European audiences, introducing an innovative model of public engagement, and greater public awareness of previously largely invisible cinematic traditions.
- Author contribution statement
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- Non-English
- No
- English abstract
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