1987 – Cyland Video Archive https://videoarchive.cyland.org Video Archive Wed, 15 Apr 2026 21:54:29 +0000 en-US hourly 1 https://wordpress.org/?v=4.5.25 24 hours https://videoarchive.cyland.org/video_archive/24-hours/ Wed, 20 Jan 2021 12:49:48 +0000 http://videoarchive.cyland.org/?post_type=video_archive&p=12119 music by Durnoe Vliyanie  

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]]> Version https://videoarchive.cyland.org/video_archive/version/ Wed, 13 Jan 2021 15:17:00 +0000 http://videoarchive.cyland.org/?post_type=video_archive&p=12102 16mm In 1987, Andrius had the idea to make a film “Version” re-enactment of the revolution of the 1917 year. It was filmed on a Krasnogorsk 16 mm movie camera in an abandoned Apraksin yard together with the “Total Jazz” group, which brought together guys from different parts of the city, known each other from … Continue reading "Version"

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In 1987, Andrius had the idea to make a film “Version” re-enactment of the revolution of the 1917 year. It was filmed on a Krasnogorsk 16 mm movie camera in an abandoned Apraksin yard together with the “Total Jazz” group, which brought together guys from different parts of the city, known each other from concerts in the rock club and the Palace of Youth (youth center designated for the creative work, sport training and after-school clubs). Several film screenings of the Version were held at the LOMO Progress Culture Center, at the Textile Institute (State University of Industrial Technologies and Design) and at the Bonch-Bruevich Institute.

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]]> Spring https://videoarchive.cyland.org/video_archive/spring/ Thu, 09 Apr 2020 15:28:28 +0000 http://videoarchive.cyland.org/?post_type=video_archive&p=11614 Spring demonstrates the precision of Yevgeni Yufit’s structural and editing techniques. It was conceived as a manifesto of necrorealism. The film combines intuition, an interest in the unconscious mind and shock tactics (traditions of the 1920’s avant-garde) with social issues of Soviet Russia.

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]]> Spring demonstrates the precision of Yevgeni Yufit’s structural and editing techniques. It was conceived as a manifesto of necrorealism. The film combines intuition, an interest in the unconscious mind and shock tactics (traditions of the 1920’s avant-garde) with social issues of Soviet Russia.

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