WorldCat Identities

Khanzhonkov, Aleksandr Alekseevich 1877-1945

Overview
Works: 27 works in 36 publications in 3 languages and 171 library holdings
Genres: Silent films  Short films  Drama  Internet videos  Film adaptations  Experimental films  Surrealist films  Comedy films  Animated films  Clay animation films 
Roles: Producer, Author
Publication Timeline
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Most widely held works by Aleksandr Alekseevich Khanzhonkov
The Alloy Orchestra Plays Wild and Weird: 14 Fascinating and Innovative Films: 1902-1965( Visual )

3 editions published between 2011 and 2016 in English and No Linguistic content and held by 39 WorldCat member libraries worldwide

14 short films with new music performed by the Alloy Orchestra
Proekt Inzhenera Praĭta( Visual )

1 edition published in 2010 and held by 21 WorldCat member libraries worldwide

"For the first time in Russian film history the setting is industrial: a peat-extraction site, a power plant, workshops, etc. There is a quasi-detective plot. The young and gifted engineer Prite is working on a new system of power supply. The workers support Prite, for his project will improve their working conditions. Rival companies are trying to steal the invention. A struggle ensues. After living through many perils, depicted in the manner of American adventure films, Prite wins."--Evgeni Gromov
Early Russian Cinema( Visual )

1 edition published in 1991 in Russian and held by 14 WorldCat member libraries worldwide

These three contrasting films by the magnificent and macabre Evgeni Bauer reveal something of the distinctive eroticism of his work and indeed of early Russian cinema as a whole. The two longer films share the common feature of a male victim, in marked contrast to the female victim of most melodrama; while the comedy The 1002nd Ruse celebrates a knowing female sexuality that would almost certainly not be found in any contemporary American equivalent (although it has much in common with the contemporary sex comedies of Lubitsch and DeMille). A Child of the Big City traces the heroine Mon'ka's evolution from a poor innocent seamstress to a monster of depravity and egotism. Her 'rise'#x9D; is paralleled by the fall of her idealistic admirer, Viktor, who finally commits suicide in face of her callous disregard. Film historian Miriam Hansen has noted this unusual variation on the familiar melodrama schema of the male aggressor and female victim: Bauer's contemporary urban and upper-class settings display male ruin and inadequacy as an effect of the real or imagined revenge of a powerful woman. Daydreams is regarded by many as Bauer's surviving masterpiece. Film historian and archivist Paolo Cherchi Usai describes it as 'a masterful balance between subject technique and narrative development. The tension in the plot (reminding one of Hitchcock's Vertigo) reaches its climax in the extraordinary tracking shot during which the camera quite literally follows the main character along a deserted street, stops when he stops, then tracks back slowly, while he retraces his route. Necrophilia, mysticism and abstraction are the main ingredients of a tale with an astonishing and eerie finale.' [Silent Witnesses, ed. Tsivian et al, London/Pordenone: 1989] A CHILD OF THE BIG CITY (Ditia bol'shogo goroda) Alternative title: The Girl From the Street (Devushka s ulitsy). Director/Art Director: Evgeni Bauer. Photography: Boris Zavelev. Production Compony: Khanzhonkov. Released March 5, 1914. Cast: Elena Smirnova (Monechka/Mary). Nina Kozlianinava (Mon'ka, the heroine, as a child). Mikhail Salarov (Viktor Kravtsov). Arsenii Bibikov (Kramskoi, his comrade). Leonid Iost (Kravisov's lackey). Lidiia Tridenskaia (Masha, a laundress). Emma Bauer (A dancer). THE 1002ND RUSE (Tysiacha vioraio khitrost’)Director/Screenplay: Evgeni Bauer. Based on the play 1001 khitrost' (The Thousand and First Ruse) by Vladimir Azov. Production Company: Khanzhonkov. Released May 29, 1915. Cast: Lina Bauer (The cunning wife). S. Rassatov (Her husband). Sergei Kvasnitskii (Her lover). DAYDREAMS (Grezy). Alternative title: Deceived Dreams (Obmanutye mechty). Director: Evgeni Bauer. Screenplay: M. Bosov & Valentin Turkin. Based on the novel Bruges la Morte by Georges Rodenbach. Photography: Boris Zavelev. Production Company: Khanzhonkov. Released October 10, 1915. Cast: Aleksandr Vyrubov (Sergei Nikolaevich Nedelin). N. Chernobaeva (His wife and Tina Viarskaia, an actress). Viktor Arens (Sol'skii, an artist)
Early Russian Cinema( Visual )

1 edition published in 1991 in Russian and held by 14 WorldCat member libraries worldwide

Starewicz is one of those cinemagicians whose name deserves to stand in film history alongside those of Méliès, Emil Cohl and Disney.#x9D; Charles Ford's 1958 claim could scarcely be verified until recent years - as Jayne Pilling noted in her 1983 booklet - due to the unavailability of most of Starewicz's films to view. During the 80s, his stock rose rapidly as archival co-operation made at least some of the key films visible. These, however, were mainly from his French period and were vastly different from his very earliest Russian insect fables. What the opening up of Romanov cinema has revealed is the much wider range of his work in the years 1913-17, including a few surviving examples of his all-live-action films. This collection includes examples of the three main strands of his early work. First, The Dragonfly and the Ant, based on a fable by the classic Russian writer Krylov, reveals the poetic elegance of Starewicz's debut. The film was shown at court and rewarded by a gift and praise from the Tsar - which also reflected well on Starewicz's patron, Khanzkonkov. Adaptations of Gogol were another constant thread running through Starewicz's work up to 1919, giving full rein to a love of the grotesque and the macabre which is also evident in the animal puppet films. Christmas Eve - which includes one of Mozzhukhin's oddest character roles, as the devil - was apparently a great success, hailed by a contemporary reviewer as 'sparkling with pure Gogolesque humor and ... accompanied by continuous laughter from the public. Russia's entry into the Great War produced a wave of patriotic propaganda from artists in many media. Starewicz's contribution varied from the knockabout satire of Mars' Stepson and How the German General Signed a Pact with the Devil (both 1914) to the curious and touching Lily of Belgium. This uses one of his favorite techniques of mixing live-action with stop-frame animation to create an unashamed allegory of the German rape of Belgium. THE DRAGONFLY AND THE ANT (Strekoza i muravei). Director/Screenplay/Photography/Art Direction: Ladislaw Starewicz. Based on Krylov's fable. Production Company: Khanzhonkov. Released February 22, 1913. CHRISTMAS EVE (Noch'pered rozhdestvom). Director/Screenplay/Photography/Art Direction: Ladislaw Starewicz. Based on the story by Nikolai Gogol. Production Company: Khanzhonkov. Released December 26, 1913. Cast: Ivan Mozzhukhin (Devil). Ol'ga Obolenskaia (Oksana). Lidiia Tridenskaia (Solokha). P. Lophukin (Vakula). A. Kheruvimov (Golova). Pavel Knorr (Chub). THE LILY OF BELGIUM (Liliia Bel'gii; also known as The Suffering and Resurrection of Belgium and An Allegory of Today)
Umirai︠u︡shchīĭ lebed( Visual )

in German and held by 10 WorldCat member libraries worldwide

Gisella, a mute but talented dancer, discovers her lover is unfaithful and leaves home to pursue a ballet career. She attracts the attention of a painter obsessed with portraying death and becomes his model, with tragic results
Pervye gody russkoĭ kinematografii : vospominanii︠a︡ by Aleksandr Alekseevich Khanzhonkov( Book )

3 editions published between 1937 and 2017 in Russian and held by 7 WorldCat member libraries worldwide

Class distinctions by British Film Institute( Visual )

2 editions published in 1992 in Russian and held by 4 WorldCat member libraries worldwide

Despite strict censorship intended to prevent any inflammatory material from reaching the screen, many early Russian films achieved a remarkably candid portrayal of social conditions. Gonsharov's The Peasants' Lot (1912) portrayed the hardship of rural life, while an early film by Bauer, Silent Witnesses (1914) dealt frankly with servants' views of their masters in a Moscow mansion
Petr Chardynin & Pushkin( Visual )

1 edition published in 1992 in Russian and held by 4 WorldCat member libraries worldwide

The former touring actor-manager, Petr Chardynin, made an early name for himself and gave Russian cinema a distinctly cultured orientation with Pushkin adaptations like The Queen of Spades (1910) and The House In Kolomna (1913). In the latter Chardynin's protege Mozzhukhin played both a dashing officer and a farcical cook in drag
Filʹmy Atelʹe A. Khanzhonkov i Ko( Visual )

1 edition published in 2009 in Russian and held by 3 WorldCat member libraries worldwide

First years of the Russian cinema : reminiscences by Aleksandr Alekseevich Khanzhonkov( Book )

1 edition published in 1937 in English and held by 3 WorldCat member libraries worldwide

Filʹmy Atelʹe A. Khanzhonkov i Ko( Visual )

1 edition published in 2009 in Russian and held by 3 WorldCat member libraries worldwide

Proekt Inzhenera Praĭta( Visual )

1 edition published in 2010 in Russian and held by 3 WorldCat member libraries worldwide

"For the first time in Russian film history the setting is industrial: a peat-extraction site, a power plant, workshops, etc. There is a quasi-detective plot. The young and gifted engineer Prite is workling on a new system of power supply. The workers support Prite, for his project will improve their working conditions. Rival companies are trying to steal the invention. A struggle ensues. After living through many perils, depicted in the manner of American adventuiree films, Prite wins."--Evgeni Gromov
The End of an era by British Film Institute( Visual )

1 edition published in 1992 in Russian and held by 2 WorldCat member libraries worldwide

"Between the February and October revolutions in 1917, Russian cinema reflected urgent new themes, as in 'The Revolutionary.' But Bauer also continued his vein of tragic melodrama in what was to be his last film, 'For Luck' ... A poignant fragment, 'Behind the Screen, ' shows the stars Mozzhukhin and Lisenko on the eve of their departure into exile"--Container
Early Russian cinema( Visual )

1 edition published in 1992 in Russian and held by 2 WorldCat member libraries worldwide

Compilation de deux films russes pré-révolutionnaires illustrant la vie rurale des paysans du XIXe siècle: THE PEASANT'S LOT (Vasilii goncharov, 1912). Illustration de la vie difficile des paysans, malgré une censure stricte qui visait à empêcher tout soulèvement contre les classes possédantes. Avec Aleksandra Goncharova, Ivan Mosjoukine et Petr Chardynin (29 min.). SILENT WITNESSES (Evgenii Bauer, 1914). La perception de leurs maîtres par des domestiques. Utilisation de l'écran fractionné et de prises de vue subjectives pour raconter l'histoire de domestiques exploités par leurs patrons bourgeois. Même l'architecture de la maison suggère la distinction des classes (65 min.)
Early Russian cinema( Visual )

2 editions published in 1992 in Russian and English and held by 2 WorldCat member libraries worldwide

A compilation of two early Russian films produced between 1910 and 1913. Many Pushkin adaptations appeared during the establishment of the Russian film industry which helped popularise the author. Chardynin, former touring actor-manager gave Russian cinema a distinctly cultured orientation with his films The Queen of Spades (1910) and The House in Kolomna (1913)
Evgenii Bauer by British Film Institute( Visual )

1 edition published in 1992 in Russian and held by 1 WorldCat member library worldwide

"Evgenii Bauer is the major discovery from early Russian cinema. In a mere five prolific years, he achieved mastery in several genres, including the social melodrama of 'A Child in the big city', erotic comedy like 'The 1002nd ruse' and the psychological melodrama of 'Daydreams'. Admired by his contemporaries, he raised Russian cinema to an unparallelled artistic level before his early death in mid-1917"--Container
Folklore and legend( Visual )

1 edition published in 1992 in Russian and held by 1 WorldCat member library worldwide

Drama in a Gyspy camp and the unreleased Brigand Brothers are plein air folklore subjects, while A 16th century Russian wedding and Rusalka, both directed by pioneer enthusiast Vasiliĭ Goncharov, show how rapidly Russian cinema espoused national and cultural themes
Vi︠e︡stnik kinematografii( )

in Russian and held by 1 WorldCat member library worldwide

Pervye gody russkoj kinematografii ([Umschl.:] kinopromyšlennosti) by Aleksandr Alekseevich Khanzhonkov( Book )

1 edition published in 1937 in Undetermined and held by 1 WorldCat member library worldwide

Wild and weird( Visual )

1 edition published in 2011 in English and held by 1 WorldCat member library worldwide

14 short films with new music performed by the Alloy Orchestra
 
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Alternative Names
Aleksandar Hanžonkov

Aleksandr Chanžonkov produttore cinematografico russo

Aleksandr Chanżonkow

Aleksandr Hanjonkov

Aleksandr Hanžonkov venäläinen elokuva-alan yrittäjä, elokuvatuottaja ja -ohjaaja

Aleksandr Janzhónkov

Aleksandr Khanjónkov

Aleksandr Khanzhonkov filmregisseur uit Keizerrijk Rusland (1877-1945)

Aleksandr Khanzhonkov Russian businessman

Alexander Alexejewitsch Chanschonkow russischer Unternehmer der Filmindustrie

Alexandre Khanjonkov

Chanžonkov, A. 1877-1945

Chanžonkov, A. A. 1877-1945

Chanžonkov, Aleksandr A. 1877-1945

Chanžonkov, Aleksandr Alekseevič 1877-1945

Chanžonkov, O. 1877-1945

Chanžonkov, O. O. 1877-1945

Chanžonkov, Oleksandr Oleksijovyč 1877-1945

Khanzhonkov, A.

Khanzhonkov, A. A. 1877-1945

Khanzhonkov, A. A. (Aleksandr Alekseevich), 1877-1945

Khanzhonkov, Aleksandr Alekseevich 1877-1945

Khanz︠h︡onkov, Oleksandr Oleksiĭovych 1877-1945

Ханжонков Александр Алексеевич

Ханжонков, Александр Алексеевич 1877-1945

Ханжонков Олександр Олексійович

Ханжонков, Олександр Олексійович 1877-1945

Ալեքսանդր Խանժոնկով

الکساندر خانژونکف

アレクサンドル・ハンジョンコフ

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