{'fraction_non_alphanumeric': 0.027375201288244767, 'fraction_numerical': 0.00966183574879227, 'mean_word_length': 5.1840796019900495, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The People's Pictures: National Lottery funding and British cinema

film reviews, starting with an article by Oleg Kovalov on the reception and impact of The Lonely Voice of Man (1978/1987), during the director’s studentship at the VGIK Film Institute. Maya Turovskaya expresses her ideas on Sokurov’s indebtedness to Soviet director Mikhail Romm, and the third article by Petr Bagrov deals with the musical score of Sonata for Viola. Dmitri Shostakovich (1981). The final section of the book offers three essays on ‘The Oeuvre’, sketching general tendencies and evolutions in Sokurov’s work, including an insightful and poetic text by Soviet cinema expert Sergei Dobrotvorsky. The ‘Russian Responses’ are not only disclosing new information for non-Russian speaking readers, they also enrich our understanding by nuancing and/or affirming the knowledge shared in the other parts of the book. The editors also added a filmography that frames information on the production crew, festival screenings and awards. The bibliography is selective, mentioning key texts and interviews in English as well as in Russian. In sum, The Cinema of Aleksander Sokurov is an essential asset, and it will most likely enthuse scholars into further explorations.