Kino Klassika Foundation in partnership with the Institut Français are proud to present a monthly film season spotlighting the best of classic Soviet cinema
Research fellow at CIRHUS (joint research centre between NYU and the French National Centre for Scientific Research, CNRS). A former student of the Ecole Normale Supérieure (ENS), Ada is an art historian and has published Eisenstein et Daumier, des affinités électives (2013). She collaborated on the exhibition 1917 at the Centre Pompidou in Metz (2012) and has taught art history at Paris Nanterre, La Défense and the Ecole Normale Supérieure of Lyon. She is currently editing a book on Eisenstein’s library, Reading with Eisenstein (Montreal).
Professor of Film history and Film Analysis at the University of Maintz; formerly teaching at the Humboldt and Freie universities of Berlin, and visiting professor at Stanford University and University of California at Berkeley. Author of Sergei Eisenstein: A Biography (1998/2001), and editor of Eisenstein on Disney, Malevich: The White Rectangle, co-curator of the exhibitions Moscow-Berlin, Berlin-Moscow (1995) and Eisenstein’s Mexican Drawings (Antwerp, 2009).
Igor Kadyrov is a supervising psychoanalyst of the Moscow Psychoanalytic Society and a past president of the society. Currently he is the director of the Han Groen Prakken European Psychoanalytic Institute of the International Psychoanalytical Associations and European Psychoanalytical Federation. He is an Associate Professor of clinical psychology and Director of the Master Degree program on Psychoanalytic Psychology and Psychotherapy at Lomonosov Moscow State University. He is the chair of the psychoanalytic Cinema Festival in Moscow and a consultant of the European Psychoanalytic Film Festival in London. He has published many works on psychoanalysis.
Sorbonne Nouvelle, Paris III. Currently working on parallels between contemporary cognitive science and Eisenstein’s theories of perception.
Professor of Film and Media Studies, Birkbeck College, University of London, and Fellow of the British Academy. Her 1975 essay Visual Pleasure and Narrative Cinema, played a major part in establishing the field of film studies, and within it feminist film theory as an important direction. Among the films she has co-directed, the conference will include a rare screening of Disgraced Monuments, which she co-directed in 1991 with Mark Lewis. This film examines ‘the fate of revolutionary monuments in the Soviet Union after the fall of communism’.
Professor of History, University of Austin at Texas. Neuberger studies modern Russian culture in social and political context, with a focus on the politics of the arts. She is the author of an eclectic range of publications, including Hooliganism: Crime and Culture in St Petersburg, 1900-1914 (1993), Ivan the Terrible: The Film Companion (2003); co-author of Europe and the Making of Modernity, 1815-1914 (2005); and co-editor of Imitations of Life: Melodrama in Russia (2001) and Picturing Russia: Explorations in Visual Culture (2008).
Sally Potter OBE is the award-winning director of seven feature films, and a number of shorts and documentaries. A dancer and musician before she became a filmmaker, she has had a longstanding interest in Russia, and her Academy-award nominated Orlando (1992) was partly filmed in Russia and Uzbekistan.
Professor of Film and Visual Studies and Theory of Media at Paris 3, he is joining director of the research group LIRA (Laboratoire International de Recherches en Arts). Among his many publications, one of the most recent is an edition of Eisenstein’s Notes for a General History of Cinema, which will be launched by Amsterdam University Press during the conference.
Anniversary Professor of Film and Media History, Birkbeck College, University of London, and Fellow of the British Academy. Co-curator of the GRAD exhibition Unexpected Eisenstein, he also co-curated Eisenstein: His Life and Art (Oxford Museum of Modern Art/Hayward Gallery, 1988), and co-edited Eisenstein Rediscovered (1993) and The Film Factory: Russian and Soviet Cinema in Documents, 1896-1939 (1988), both with Richard Taylor.