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The voice of technology : Soviet cinema's transition to sound, 1928-1935
\"As cinema industries around the globe adjusted to the introduction of synch-sound technology, the Soviet Union was also shifting culturally, politically, and ideologically from the heterogeneous film industry of the 1920s to the centralized industry of the 1930s, and from the avant-garde to Socialist Realism. In The Voice of Technology: Soviet Cinema's Transition to Sound, 1928-1935, Lilya Kaganovsky explores the history, practice, technology, ideology, aesthetics, and politics of the transition to sound within the context of larger issues in Soviet media history. Industrialization and centralization of the cinema industry greatly altered the way movies in the Soviet Union were made, while the introduction of sound radically influenced the way these movies were received. Kaganovsky argues that the coming of sound changed the Soviet cinema industry by making audible, for the first time, the voice of State power, directly addressing the Soviet viewer. by exploring numerous examples of films from this transitional period, the author demonstrates the importance of the new technology of sound in producing and imposing the 'Soviet Voice'.\"-- Provided by publisher.
Book
Not According to Plan
InNot According to Plan, Maria Belodubrovskaya reveals the limits on the power of even the most repressive totalitarian regimes to create and control propaganda. Belodubrovskaya's revisionist account of Soviet filmmaking between 1930 and 1953 highlights the extent to which the Soviet film industry remained stubbornly artisanal in its methods, especially in contrast to the more industrial approach of the Hollywood studio system. Not According to Plan shows that even though Josef Stalin recognized cinema as a \"mighty instrument of mass agitation and propaganda\" and strove to harness the Soviet film industry to serve the state, directors such as Eisenstein, Alexandrov, and Pudovkin had far more creative control than did party-appointed executives and censors.
The Stalinist party-state, despite explicit intent and grandiose plans to build a \"Soviet Hollywood\" that would release a thousand features per year, failed to construct even a modest mass propaganda cinema. Belodubrovskaya's wealth of evidence shows that the regime's desire to disseminate propaganda on a vast scale was consistently at odds with its compulsion to control quality and with Stalin's intolerance of imperfection.Not According to Planis a landmark in Soviet cultural history and the global history of cinema.
eBook
Stalin's Final Films
Stalin's Final Films explores
a neglected period in the history of Soviet cinema, breathing new
life into a body of films long considered moribund as the pinnacle
of Stalinism. While film censorship reached its apogee in
this period and fewer films were made, film attendance also peaked
as Soviet audiences voted with their seats and distinguished a
clearly popular postwar cinema.
Claire Knight examines the tensions between official ideology
and audience engagement, and between education and entertainment,
inherent in these popular films, as well as the financial
considerations that shaped and constrained them. She explores how
the Soviet regime used films to address the major challenges faced
by the USSR after the Great Patriotic War (World War II), showing
how war dramas, spy thrillers, Stalin epics, and rural comedies
alike were mobilized to consolidate an official narrative of the
war, reestablish Stalinist orthodoxy, and dramatize the rebuilding
of socialist society. Yet, Knight also highlights how these same
films were used by filmmakers more experimentally, exploring a
diverse range of responses to the ideological crisis that lay at
the heart of Soviet postwar culture, as a victorious people were
denied the fruits of their sacrificial labor. After the war, new
heroes were demanded by both the regime and Soviet audiences, and
filmmakers sought to provide them, with at times surprising
results.
Stalin's Final Films mines Soviet cinema as an
invaluable resource for understanding the unique character of
postwar Stalinism and the cinema of the most repressive era in
Soviet history.
eBook
Feeling revolution : cinema, genre, and the politics of affect under Stalin
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.
BOOK
The Phantom Holocaust
Even people familiar with cinema believe there is no such thing as a Soviet Holocaust film.The Phantom Holocausttells a different story. The Soviets were actually among the first to portray these events on screens. In 1938, several films exposed Nazi anti-Semitism, and a 1945 movie depicted the mass execution of Jews in Babi Yar. Other significant pictures followed in the 1960s. But the more directly filmmakers engaged with the Holocaust, the more likely their work was to be banned by state censors. Some films were never made while others came out in such limited release that the Holocaust remained a phantom on Soviet screens.Focusing on work by both celebrated and unknown Soviet directors and screenwriters, Olga Gershenson has written the first book about all Soviet narrative films dealing with the Holocaust from 1938 to 1991. In addition to studying the completed films, Gershenson analyzes the projects that were banned at various stages of production.The book draws on archival research and in-depth interviews to tell the sometimes tragic and sometimes triumphant stories of filmmakers who found authentic ways to represent the Holocaust in the face of official silencing. By uncovering little known works, Gershenson makes a significant contribution to the international Holocaust filmography.
eBook
The last picture show
\"The Soviet Union produced more women directors than any other nation, but now that Russia is back on the map, they, like their male comrades, find the marketplace is no respecter of art or ambition. Hollywood movies dominate the plummeting number of theaters in Russia, and a good many people stay home to watch pirated videos of 'Mission Impossible' and its ilk... A program of films by Russian women [\"Sisters: Films by Russian Women, the best of Three Decades\"] gives a glimpse of what will be lost if the country's film industry withers away.\" (IN THESE TIMES)
Magazine Article
Cinemasaurus
Cinemasaurus examines ninety recent films over three decades, focusing on four issues ofRussia's transition: (1) its imperial legacy, (2) the film market and newgenres, (3) the dialogue with European values and hierarchies, (4) itsrenegotiation with state power. Itscontributors include the next generation of US-Russian cinema scholars.
eBook
Woman with a Movie Camera
A fascinating autobiography that tells the intertwining stories of one of Russia’s best-known documentary filmmakers and the eventful half century of Russian history she has recorded.
eBook