Abstract
The history of Soviet silent film from 1910 to 1930 is a fascinating exploration of innovation and artistic expression. Before the Bolshevik Revolution in 1917, Russian cinema was primarily influenced by Western styles, with filmmakers like Yakov Protazanov producing popular melodramas and comedies. However, the revolution transformed cinema into a vital tool for propaganda and cultural representation.
In the 1920s, directors like Halo Bek-Nazaryan and Alexander Dovzhenko emerged, each bringing unique perspectives and techniques to the medium. Bek-Nazaryan's films, such as "The Man from the Restaurant" (1927), showcased a blend of humor and social commentary, reflecting the complexities of Soviet life. His focus on character-driven narratives combined with visual storytelling helped establish a distinct voice within the silent film landscape.
Dovzhenko, known for his poetic style, contributed significantly to Soviet cinema with works like "Zvenyhora" (1928) and "Earth" (1930). His films incorporated lush visuals and a strong connection to Ukrainian culture, emphasizing themes of agrarian life and revolutionary spirit. Dovzhenko’s innovative use of imagery and symbolism brought a lyrical quality to silent film, distinguishing his work from others of the time.
As the decade closed, the introduction of sound cinema posed new challenges, leading to a gradual shift away from silent films. Nevertheless, the artistic techniques and thematic explorations initiated by Bek-Nazaryan and Dovzhenko would leave a lasting impact on Soviet cinema and beyond.
Bio
Juliet Merchant is an internationally acclaimed and award winning composer and pianist who is known for writing scores for Soviet silent films commissioned by Klassiki and the NCCA. Her debut came after writing for BAFTA winning director Gerry Fox’s documentary “Force of Nature: Natalia”, which premiered at Curzon Cinemas in 2019. Her previous work included “A Life for a Life” by Yevgeni Bauer, “Love’s Berries” by Oleksandr Dovzhenko, "The Girl with the Hatbox" by Boris Barnet, and “The Adventures of Mr West in the Land of the Bolsheviks” by Lev Kuleshov and “Aelita” by Yakov Protozanov, which were all premiered Institut Francais and the score was named “dazzling” by Russian Arts and Culture. She often performs her scores live and participates in interviews and Q&As after screenings. Her most recent work was writing the score for “The House on the Volcano” by Amo Bek-Nazaryan where she directed the Conservatory Orchestra of Armenia to make a live recording. This received an "outstanding" review by Peter Bradshaw from The Guardian and “an absolute triumph” by Fin Logie from Lossi 36 and has been premiered all over the world, most recently at MoMA. All films are available to stream on Klassiki and MUBI.
She has performed and had her music displayed in international venues including Curzon Cinemas, La Cinemateque Paris, Samizdat Eastern European Film Festival, Institut Fran?ais, National Centre of Cinema of Armenia, Vigevano, The Arnolfini, MAO (Modern Art Oxford), The Canyon Flats Video Wall Nevada and The Harrison Arts Centre. She is currently studying a Masters in Composition at Oxford University where she will be working with the Castilian Quartet, Oxford Philharmonic Orchestra and BBC choirs whilst performing concerts at Christ Church, Jacqueline du Pre, Hollywell Music Hall and more of Oxford's world renowned venues. She has won multiple awards including prizes at The International Music Festival in Blackheath, Ealing Music Festival and The Vigevano Soundscape Competition. She is signed by the label EMI and Motus Music and has composed music for BBC, ITV and Paramount Pictures.