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Stalin-era cinema was designed to promote emotional and affective education. The filmmakers of the period were called to help forge the emotions and affects that befitted the New Soviet Person - ranging from happiness and victorious laughter, to hatred for enemies. 'Feeling Revolution' shows how the Soviet film industry's efforts to find an emotionally resonant language that could speak to a mass audience came to centre on the development of a distinctively 'Soviet' cinema. Its case studies of specific film genres, including production films, comedies, thrillers, and melodramas, explore how the genre rules established by Western and prerevolutionary Russian cinema were reoriented to new emotional settings. 'Sovietising' audience emotions did not prove to be an easy feat. The tensions, frustrations, and missteps of this process are outlined in Feeling Revolution, with reference to a wide variety of primary sources, including the artistic council discussions of the Mosfil'm and Lenfil'm studios and the Ministry of Cinematography. Bringing the limitations of the Stalinist ideological project to light, Anna Toropova reveals cinema's capacity to contest the very emotional norms that it was entrusted with crafting.

Texts created for the consumption of children and young adults are not simple texts made for the sole purpose of entertaining young audiences. In fact, these texts are complicated, multi-faceted texts that function both in the creation and performance of childhood. Children's and young adult literature and film disseminated mainstream ideology about young people's place in society and attempt to enculturate young readers and viewers in regards to race, gender, age, and social class. However, by helping young people interact critically with these texts, critical thinking skills as well as a passion for reading can be fostered. In addition, by supporting young people's creative potential, more texts can be produced for children by children instead of all texts being created by adults.

This study considers Italian filmmaking during the Fascist era and offers an original and revealing approach to the interwar years. Steven Ricci directly confronts a long-standing dilemma faced by cultural historians: while made during a period of totalitarian government, these films are neither propagandistic nor openly \"Fascist.\" Instead, the Italian Fascist regime attempted to build ideological consensus by erasing markers of class and regional difference and by circulating terms for an imaginary national identity. Cinema and Fascism investigates the complex relationship between the totalitarian regime and Italian cinema. It looks at the films themselves, the industry, and the role of cinema in daily life, and offers new insights into this important but neglected period in cinema history.

The Screen Is Red portrays Hollywood's ambivalence toward the former Soviet Union before, during, and after the Cold War. In the 1930s, communism combated its alter ego, fascism, yet both threatened to undermine the capitalist system, the movie industry's foundational core value. Hollywood portrayed fascism as the greater threat and communism as an aberration embraced by young idealists unaware of its dark side. In Ninotchka, all a female commissar needs is a trip to Paris to convert her to capitalism and the luxuries it can offer. The scenario changed when Nazi Germany invaded the Soviet Union in 1941, making Russia a short-lived ally. The Soviets were quickly glorified in such films as Song of Russia, The North Star, Mission to Moscow, Days of Glory, and Counter-Attack. But once the Iron Curtain fell on Eastern Europe, the scenario changed again. America was now swarming with Soviet agents attempting to steal some crucial piece of microfilm. On screen, the atomic detonations in the Southwest produced mutations in ants, locusts, and spiders, and revived long-dead monsters from their watery tombs. The movies did not blame the atom bomb specifically but showed what horrors might result in addition to the iconic mushroom cloud. Through the lens of Hollywood, a nuclear war might leave a handful of survivors ( Five ), none ( On the Beach, Dr. Strangelove ), or cities in ruins ( Fail-Safe ). Today the threat is no longer the Soviet Union, but international terrorism. Author Bernard F. Dick argues, however, that the Soviet Union has not lost its appeal, as evident from the popular and critically acclaimed television series The Americans. More than eighty years later, the screen is still red.

Children’s movies often provide messages about morally appropriate and inappropriate conduct. In two studies, we draw on Moral Foundations Theory (MFT) to derive predictions about actual depictions of morality, and people’s preferences for different moral depictions, within children’s movies. According to MFT, people’s moral concerns include individualizing foundations of care and fairness and binding foundations of loyalty, authority, and sanctity. Prior work reveals that although there are political differences in the endorsement of these two broad categories—whereby stronger political conservatism predicts stronger binding concerns and weaker individualizing concerns—there nonetheless is broad agreement across political identity in the importance of individualizing concerns. We therefore predicted that heroes would value individualizing foundations more than villains, and that despite political differences in preferences for moral messages, there would be more agreement in the importance of messages promoting individualizing concerns. In Study 1, we coded heroes and villains from popular children’s movies for their valuation of moral foundations. Heroes valued individualizing concerns more, and binding concerns less, than villains did. Participants in Study 2 considered moral dilemmas faced by children’s movie characters, and rated their preferences for resolutions that promoted either individualizing or binding foundations. Although liberals preferred individualizing-promoting resolutions and conservatives preferred binding-promoting resolutions, there was stronger agreement across political identity in the importance of individualizing concerns. Despite political differences in moral preferences, popular depictions of children’s movie characters and people’s self-reported moral endorsement suggest a shared belief in the importance of the individualizing moral virtues of care and fairness. Movies are often infused with moral messages. From their exploration of overarching themes, their ascription of particular traits to heroic and villainous characters, and their resolution of pivotal moral dilemmas, movies provide viewers with depictions of morally virtuous (and morally suspect) behavior. Moral messaging in children’s movies is of particular importance, since it is targeted at an audience for which morality is actively developing. What moral messages do filmmakers (and consumers, including parents) want children’s movies to depict? Are these preferences related to people’s political identity? And what are the actual moral depictions presented in movies? In the present two studies, we draw on an influential theory of moral judgment—Moral Foundations Theory—to develop and test predictions about the depiction of morality in children’s movies.

The paper analyzes how Jewish representations in Russian government-supported war films from 2010 to 2018 have been engaged in the assertion of Vladimir Putin's foreign and domestic political agenda. The paper argues that the re-emerged heroic war genre—the principal Russian ideological medium—has employed Jewish representations and Jewish historical narratives in order to instrumentalize and re-interpret them for the benefit of the new Russian imperialist ideology and Vladimir Putin's current political agenda. Using such films as The Match (Malyukov, 2012), Battle for Sevastopol (Mokritsky, 2015), Sobibor (Khabensky, 2018), and others as illustrations, the paper infers that contemporary film representations of Jewish identities are inspired by the Soviet models adjusted to transmit the idea of Russian state messianism. The paper explores how Jewishness , represented primarily on a racial account, is culturally downplayed compared to some privileged Russianness , until it comes to the recognition of the allegedly universal values of the latter and the readiness to share its historical destiny.

This study analyzes the ideological content in the films of Yeşim Ustaoğlu, one of the few female directors in Turkish cinema. The main conflicts of the director's five films are analyzed and the ideological concepts (nation and gender) that constitute these conflicts are revealed. These concepts and the political ideologies associated with them (nationalism and feminism) are explained, and based on these explanations, the narratives of the films are analyzed through qualitative narrative analysis. Narratives that support feminism and criticize nationalism are found. In all the director's films, there are narratives that coincide with the criticisms brought forth by feminism. Lastly, there is an ideological consistency in the films in terms of criticizing all kinds of inequality.

In this essay, Ebony Elizabeth Thomas and Amy Stornaiuolo explore new trends in reader response for a digital age, particularly the phenomenon of bending texts using social media. They argue that bending is one form of \"restorying,\" a process by which people reshape narratives to represent a diversity of perspectives and experiences that are often missing or silenced in mainstream texts, media, and popular discourse. Building on Louise Rosenblatt's influential transactional theory of reading, the authors theorize restorying as a participatory textual practice in which young people use new media tools to inscribe themselves into existence. The authors build on theorists from Mikhail Bakthin to Noliwe Rooks in order to illustrate tensions between individualistic \"ideological becoming\" and critical reader response as a means of protest. After discussing six forms of restorying, they focus on bending as one way youth make manifest their embodied, lived realities and identities, providing examples from sites of fan communities where participants are producing racebent fanwork based on popular children's and young adult books, movies, comics, and other media. Situating these phenomena within a larger tradition of narrating the self into existence, the authors explore broader implications for literacy education.

The Cold War was not only about the imperial ambitions of the super powers, their military strategies, and antagonistic ideologies. It was also about conflicting worldviews and their correlates in the daily life of the societies involved. The term \"Cold War Culture\" is often used in a broad sense to describe media influences, social practices, and symbolic representations as they shape, and are shaped by, international relations. Yet, it remains in question whether - or to what extent - the Cold War Culture model can be applied to European societies, both in the East and the West. While every European country had to adapt to the constraints imposed by the Cold War, individual development was affected by specific conditions as detailed in these chapters. This volume offers an important contribution to the international debate on this issue of the Cold War impact on everyday life by providing a better understanding of its history and legacy in Eastern and Western Europe.