The purpose of this thesis is to examine the topic of political control of literature within the Soviet Union. The specific scope of this examination includes an investigation of Nikita S. Khrushchev and his utilization of socialist realism as one of the primary methods of literary control during the period, 1960-1963. A study of literature and its political control will demonstrate the important and dynamic roles which the political control of literature fulfills in the political system.

Dans les années 1970, les cinéastes soviétiques arrivaient à faire des films de qualité malgré toutes les contraintes et bien qu’étant obligés de tourner conformément aux critères de la censure. On peut parler de l'originalité et d’une certaine liberté d'expression, comme les caractéristiques du cinéma soviétique de cette période, puisque le contrôle du contenu des films est devenu moins strict par rapport aux décennies précédentes. Ces années sont marquées par la naissance de la collaboration fructueuse du cinéaste Nikita Mikhalkov avec le compositeur Edouard Artemiev. Un regard très profond sur l’histoire et la littérature de son pays est la particularité de toutes les créations de Mikhalkov, ce qui lui a valu le Grand Prix au festival de Cannes et l'Oscar du meilleur film étranger avec Soleil trompeur (1994). Quant à Artemiev, l’auteur de l’Opéra Crime et Châtiment, la maîtrise des différents styles (musique savante, musique électronique, musique rock et musique du monde) lui a permis de posséder une large palette de possibilités pour accomplir les tâches les plus difficiles en matière de musique de film. Il s’agit donc du tandem de deux maîtres incontestables dans leurs domaines respectifs, deux artistes qui se complètent. Ce travail de recherche vise à explorer le langage musical et les choix esthétiques d’Edouard Artemiev, ainsi que les différentes fonctions de sa musique dans les films de Nikita Mikhalkov. Cette étude s’appuie sur des extraits de partitions, fournissant ainsi au lecteur des références concrètes. / In the 1970s, the Soviet filmmakers, despite of all the restraints and being obliged to conform to the censorship criteria, were able to create quality movies. It is possible to consider that the originality and a certain freedom of expression were the characteristics of the Soviet cinema at that period, due to the fact that the control over the content of movies had become less strict than in previous decades. These years were marked by the birth of the successful collaboration between the filmmaker Nikita Mikhalkov and the composer Edouard Artemiev. A deep insight of his country's history and literature is a distinctive feature of all the movies made by Mikhalkov. This particularity brought the director the Grand Prix at Cannes and the Oscar for the best foreign film for his movie Burnt by the Sun (1994). As for Artemiev, the author of the opera Crime and Punishment, his perfect knowledge of different styles (classical music, electronic music, rock and world music) allowed him to possess a wide range of possibilities in order to accomplish the most difficult tasks in creating the film music. This is the tandem of two incontestable masters in their respective fields, two artists who complement each other. This research aims to explore the musical language and the aesthetic choices of Edouard Artemiev, as well as the different functions of his music in the films of Nikita Mikhalkov. This study is based on the extracts of different scores, providing the concrete references to the reader.

The main goal of the thesis was to find out why leaders decide the way they do. Using the example of the Cuban Crisis from 1962 I try to analyze the decision making process of the american president John F. Kennedy and the soviet leader Nikita S. Khrushchev. The Cuban Crisis was the most dangerous moment since World War II and the world got to the edge of a nuclear war. The lives of thousands of people were in the hands of the two leaders. Their decision making process was influenced by many internal and external factors and in this thesis I am trying to find out which factors and to what extent had the biggest influence on their decisions.

Le cinéma constitue un outil de représentation culturel très complet et complexe, de par la juxtaposition de l'image et du son au récit principal, mais aussi, car il permet de comprendre l'image qu'un individu et/ou une société véhicule d'elle-même et des autres.Le cinéma met en scène le présent d'un groupe ou d'une société, définit son rapport au passé et détermine un horizon d'attentes, des craintes et des espoirs pour le futur. C'est pourquoi le cinéma a été considéré très tôt par Lénine comme le support par excellence de la propagande d'État en Union soviétique, et ce, dès les premières années de la révolution, dans l'optique de favoriser la création de l'homme nouveau. Cette industrie, qui fut très florissante au XXe siècle, notamment en URSS, a permis de modeler et d'alimenter les consciences nationales un peu partout à travers le monde, et ce, plus particulièrement dans les périodes de crises et de transitions politiques et de transformations sociales. Dans ce contexte, le film Anna 6-18, du réalisateur Nikita Mikhalkov, tourné entre 1980 et 1993, une période de transition politique, économique, idéologique et sociale en URSS/Russie, constitue une oeuvre particulière puisque située au carrefour du documentaire, du pamphlet politique et du film de fiction. Alors que la décennie gorbatchévienne constitue une phase d'anamnèse des périodes sombres du passé soviétique, où le cinéma joue un rôle important dans la réminiscence des atrocités commises par l'État stalinien, le film de Mikhalkov, parut en 1993, correspond plutôt au désir de l'élite russe de mettre un terme à la crise de l'identité russe, de se dissocier du passé soviétique et de renouer avec l'histoire de la Russie tsariste afin de remplacer le dogme communiste par un retour aux valeurs orthodoxe. L'analyse de la démarche du réalisateur, de son bagage familial et de l'utilisation qu'il fait du passé prérévolutionnaire de ses ancêtres, des événements qu'il sélectionne et des personnes qu'il présente, devient alors des plus pertinente pour saisir l'univers des représentations chez Nikita Mikhalkov.

Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-22Bitstream added on 2014-06-13T19:27:48Z : No. of bitstreams: 1 gallep_lt_me_ia.pdf: 1157277 bytes, checksum: b706aed8e8a39902338d9b0401639ea1 (MD5) / Universidade Estadual Paulista (UNESP) / Com esta pesquisa a minha intenção foi a de realizar uma investigação do filme/documentário russo Anna dos 6 aos 18 e como ele expõe os momentos históricos do fim dos anos 1980 e começo dos 1990, com a queda da União Soviética e o surgimento da Perestroika. Tentei aqui apresentar uma análise de como esta obra, enquanto objeto de arte e documento histórico, se relaciona com as transformações e o discurso oficial do final da URSS. Foram analisadas as diferentes formas de articulação entre os elementos verbais e sonoros, mas com foco nos elementos estético-visuais (signos, ícones, sinais, movimentos de câmera, composições cênicas) e principalmente a montagem. O trabalho aqui aprestado é um estudo sobre o papel da montagem, do filme documentário enquanto documento histórico e do papel do diretor enquanto ―escultor do tempo‖. Para a realização deste trabalho foram realizadas entrevistas com profissionais desta área, bem como pesquisa e observação de diferentes obras cinematográficas e de artes plásticas que abordam a montagem. Também realizo a minha análise sobre algumas imagens escolhidas pelo diretor Nikita Mikhalkov que contam uma visão sobre este período da história russa vivenciada por ele juntamente com o crescimento de sua filha Anna, a heroína do filme objeto do nosso estudo / With this research the intention was to investigate the russian documentary film called Anna from 6 to 18 and how he exposes historic moments in the late 1980s and beggining of 1990s among the Soviet Union fall and the emergence of Perestroyka. We try to present how this work, as art object and historic document, relates itself with the changes and the official version about the end of URSS. We analyzed the different forms of articulation between the verbal elements and sound, but with a focus on aesthetic and visual elements (signs, icons, signs, camera movements, scenic compositions) and especially the assembly. The study presented here is a study on the role of the assembly, the documentary film as a historical document and the role of director as sculptor of the time. For this study, interviews were conducted with experts in this area as well as research and observation of different films and visual arts that address the assembly. Also realize my analysis on some images chosen by director Nikita Mikhalkov who have a vision about this period of Russian history experienced by him along with the growth of his daughter Anna, the heroine of the film object of our study

A proposta central desta pesquisa é analisar os filmes do cineasta russo Nikita Mikhalkov produzidos no período pós-soviético, sem, contudo, desconsiderar as demais obras do momento soviético. O estado de dissolução de valores na Rússia pós-soviética e a falta de parâmetros, principalmente dos jovens, motivaram Mikhalkov a produzir filmes cuja forma e conteúdo fossem acessíveis e emblemáticos, aproximando-se do cinema blockbuster e persuadindo o espectador através do uso incessante de símbolos. Seu público-alvo são os jovens, porém sua crítica se estende a todos os afetados pelo capitalismo, sistema que o cineasta considera ser nocivo ante a misteriosa alma russa. Diante disso, o trabalho questionará sua proposta no momento atual. / The main purpose of this research is to analyze the movies produced by the Russian film-maker Nikita Mikhalkov during the post-Soviet period, but without disregarding the other works from the Soviet period. The state of dissolution of Russian values in the post-Soviet Russia and the lack of parameters, mainly related to the youth, motivated Mikhalkov to produce movies in which the form and the content were accessible and emblematic, coming close to the blockbuster conventions and persuading the viewer by the incessant use of symbols. His target audience is the young public, but his critics extend to all people who have been affected by capitalism, a system that he considers to be harmful to the mysterious Russian soul. This dissertation will question his approach in the post-Soviet period.

A proposta central desta pesquisa é analisar os filmes do cineasta russo Nikita Mikhalkov produzidos no período pós-soviético, sem, contudo, desconsiderar as demais obras do momento soviético. O estado de dissolução de valores na Rússia pós-soviética e a falta de parâmetros, principalmente dos jovens, motivaram Mikhalkov a produzir filmes cuja forma e conteúdo fossem acessíveis e emblemáticos, aproximando-se do cinema blockbuster e persuadindo o espectador através do uso incessante de símbolos. Seu público-alvo são os jovens, porém sua crítica se estende a todos os afetados pelo capitalismo, sistema que o cineasta considera ser nocivo ante a misteriosa alma russa. Diante disso, o trabalho questionará sua proposta no momento atual. / The main purpose of this research is to analyze the movies produced by the Russian film-maker Nikita Mikhalkov during the post-Soviet period, but without disregarding the other works from the Soviet period. The state of dissolution of Russian values in the post-Soviet Russia and the lack of parameters, mainly related to the youth, motivated Mikhalkov to produce movies in which the form and the content were accessible and emblematic, coming close to the blockbuster conventions and persuading the viewer by the incessant use of symbols. His target audience is the young public, but his critics extend to all people who have been affected by capitalism, a system that he considers to be harmful to the mysterious Russian soul. This dissertation will question his approach in the post-Soviet period.