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frankjg wrote:That's probably the best route. If it's fake I guess I should let Amazon known.

Which released versions had the Russian voiceover? I couldn't find out from all the posts out there what audio is on what except original Armenian soundtrack on current RusCico? How about the Second Sight?

Thanks for tips!

frankjg wrote:Which released versions had the Russian voiceover? I couldn't find out from all the posts out there what audio is on what except original Armenian soundtrack on current RusCico? How about the Second Sight?

MichaelB wrote:My apologies - I meant that the Second Sight version had Russian intertitles, not a Russian soundtrack!

(I know this film backwards, so I really should have got that right...)

Sergei Parajanov (1924–1990) flouted the rules of both filmmaking and society in the Soviet Union and paid a heavy personal price. An ethnic Armenian in the multicultural atmosphere of Tbilisi, Georgia, he was one of the most innovative directors of postwar Soviet cinema. Parajanov succeeded in creating a small but marvelous body of work whose style embraces such diverse influences as folk art, medieval miniature painting, early cinema, Russian and European art films, surrealism, and Armenian, Georgian, and Ukrainian cultural motifs.

The Cinema of Sergei Parajanov is the first English-language book on the director's films and the most comprehensive study of his work. James Steffen provides a detailed overview of Parajanov's artistic career: his identity as an Armenian in Georgia and its impact on his aesthetics; his early films in Ukraine; his international breakthrough in 1964 with Shadows of Forgotten Ancestors; his challenging 1969 masterpiece, The Color of Pomegranates, which was reedited against his wishes; his unrealized projects in the 1970s; and his eventual return to international prominence in the mid-to-late 1980s with The Legend of Suram Fortress and Ashik-Kerib. Steffen also provides a rare, behind-the-scenes view of the Soviet film censorship process and tells the dramatic story of Parajanov's conflicts with the authorities, culminating in his 1973–77 arrest and imprisonment on charges related to homosexuality.

Ultimately, the figure of Parajanov offers a fascinating case study in the complicated dynamics of power, nationality, politics, ethnicity, and culture in the republics of the former Soviet Union.

"In the temple of cinema, there are images, light, and reality. Sergei Parajanov was the master of that temple."—Jean-Luc Godard

"Steffen has managed to capture Parajanov's unique style in a language that is simple and elucidating, making you want to watch his films again and again."—Birgit Beumers, editor of Studies in Russian and Soviet Cinema

John Edmond wrote:Congratulations, it was an automatic wishlisting. I'm looking forward to the personal retrospective that will accompany reading your book. And let us know if you have a better, more profitable, point of sale.

jsteffe wrote:This month I am correcting the proofs and compiling the index. Even though the manuscript was in good shape--the press hired an excellent copyeditor--it is still a tremendous amount of work! Let this be a warning to any of you who are planning to write your own book someday...

MichaelB wrote:As a part-time copyeditor/proofreader/indexer, I entirely sympathise - I'm working with an excellent author right now whose manuscript needed very little work, but of course that made it doubly important that I spotted the tiny handful of mistakes that he let through!