Yerkir Nairi
| 导演： | Hamo Bek-Nazaryan |
| 制片国家/地区： | 亚美尼亚 |
| 类型： | 历史 |
| 年代： | 1930 |
| 片长： | 56 |
| 豆瓣评分： | 0 |
| IMDB： | 0 |
| 影伴评分： | 0 |
剧情简介
Charting Armenia’s uneasy passage from Russian colony to Soviet republic, Bek-Nazaryan uses various documentary conceits—archival footage, staged scenes, surrealist imagery, the panoramic, the particular, and the poetic—to exalt collectivization over capitalism on the occasion of Soviet Armenia’s 10th anniversary. Land of Nairi was widely shown among the Armenian diaspora of th... (展开全部)
Charting Armenia’s uneasy passage from Russian colony to Soviet republic, Bek-Nazaryan uses various documentary conceits—archival footage, staged scenes, surrealist imagery, the panoramic, the particular, and the poetic—to exalt collectivization over capitalism on the occasion of Soviet Armenia’s 10th anniversary. Land of Nairi was widely shown among the Armenian diaspora of the 1930s before fading from view. This new restoration reminds us that Bek-Nazaryan was a tireless experimenter with film form; as scholar Vigen Galstyan observes, “Through his use of archival footage and his attempts at ‘visual musicality,’ Bek-Nazarian stands as a pioneer, paving a path that culminated with Armenian documentary filmmakers such as Artavazd Pelechian.”
Charting Armenia’s uneasy passage from Russian colony to Soviet republic, Bek-Nazaryan uses various documentary conceits—archival footage, staged scenes, surrealist imagery, the panoramic, the particular, and the poetic—to exalt collectivization over capitalism on the occasion of Soviet Armenia’s 10th anniversary. Land of Nairi was widely shown among the Armenian diaspora of th... (展开全部)
Charting Armenia’s uneasy passage from Russian colony to Soviet republic, Bek-Nazaryan uses various documentary conceits—archival footage, staged scenes, surrealist imagery, the panoramic, the particular, and the poetic—to exalt collectivization over capitalism on the occasion of Soviet Armenia’s 10th anniversary. Land of Nairi was widely shown among the Armenian diaspora of the 1930s before fading from view. This new restoration reminds us that Bek-Nazaryan was a tireless experimenter with film form; as scholar Vigen Galstyan observes, “Through his use of archival footage and his attempts at ‘visual musicality,’ Bek-Nazarian stands as a pioneer, paving a path that culminated with Armenian documentary filmmakers such as Artavazd Pelechian.”
