Abram Room
Books
Graffy, Julian. Bed and Sofa: The Film Companion. London, UK: I.B. Tauris, 2001.
Articles
Burns, Paul E. “An NEP Moscow Address: Abram Room’s Third Meshchanskaia (Bed and Sofa) in Historical Context.” Film & History 12.4 (Dec 1982): 73-81. This journal article begins with a discussion of the 1920s reforms concerning family law and sexual behaviour, identifying them as one of a series of reforms by utopian Bolshevik planners who wanted to tear down the old society and build a new and ideal one from scratch, envisioning, for example, a new Moscow which would end housewife servitude by having only communal kitchens. Within this context, he provides a formal analysis of Bed and Sofa and an exploration of its themes.
Kieffer, Anne. “Abram Room (1894-1976).” Jeune Cinema. 232 (1995): 8-12.
Liebman, Stuart. “Bed and Sofa.” Cineaste. 30.3 (2005): 71-73.
Michalski, Milena. “Promises Broken, Promises Fulfilled: The Critical Failings and Creative Success of Abram Room.” Slavonic & East European Review. 82.4 (2004): 820-846.
Youngblood, Denise J. "The Fiction Film as a Source for Soviet Social History: The Third Meshchanskaia Affair." Film & History 19.3 (Sep 1989): 50-60.
Examines several late 1920s films in relation to the contemporary calls for a return to traditional morality associated with the Cultural Revolution which began in 1928 in tandem with the first Five Year Plan. In particular, Youngblood frames Bed and Sofa (aka Third Meshchanskaia) and The Parisian Cobbler (1927, Ermler) as expressions of the Cultural Revolution’s anti-abortion campaign.
Online Articles
Steffen, James. “Russia on Reels: Bed and Sofa.” Princeton University Department of Slavic Languages and Literatures. (2010).
Graffy, Julian. Bed and Sofa: The Film Companion. London, UK: I.B. Tauris, 2001.
Articles
Burns, Paul E. “An NEP Moscow Address: Abram Room’s Third Meshchanskaia (Bed and Sofa) in Historical Context.” Film & History 12.4 (Dec 1982): 73-81. This journal article begins with a discussion of the 1920s reforms concerning family law and sexual behaviour, identifying them as one of a series of reforms by utopian Bolshevik planners who wanted to tear down the old society and build a new and ideal one from scratch, envisioning, for example, a new Moscow which would end housewife servitude by having only communal kitchens. Within this context, he provides a formal analysis of Bed and Sofa and an exploration of its themes.
Kieffer, Anne. “Abram Room (1894-1976).” Jeune Cinema. 232 (1995): 8-12.
Liebman, Stuart. “Bed and Sofa.” Cineaste. 30.3 (2005): 71-73.
Michalski, Milena. “Promises Broken, Promises Fulfilled: The Critical Failings and Creative Success of Abram Room.” Slavonic & East European Review. 82.4 (2004): 820-846.
Youngblood, Denise J. "The Fiction Film as a Source for Soviet Social History: The Third Meshchanskaia Affair." Film & History 19.3 (Sep 1989): 50-60.
Examines several late 1920s films in relation to the contemporary calls for a return to traditional morality associated with the Cultural Revolution which began in 1928 in tandem with the first Five Year Plan. In particular, Youngblood frames Bed and Sofa (aka Third Meshchanskaia) and The Parisian Cobbler (1927, Ermler) as expressions of the Cultural Revolution’s anti-abortion campaign.
Online Articles
Steffen, James. “Russia on Reels: Bed and Sofa.” Princeton University Department of Slavic Languages and Literatures. (2010).