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Author: Oksana Sarkisova
Publisher: Bloomsbury Publishing
ISBN: 1786730405
Category : Performing Arts
Languages : en
Pages : 322
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Book Description
Filmmakers in the early decades of the Soviet Union sought to create a cinematic map of the new state by portraying its land and peoples on screen. Such films created blueprints of the Soviet domain's scenic, cultural and ethnographic perimeters and brought together - in many ways disparate - nations under one umbrella. Categorised as kulturfilms, they served as experimental grounds for developing the cinematic formulae of a multiethnic, multinational Soviet identity. Screening Soviet Nationalities examines the non-fictional representations of Soviet borderlands from the Far North to the Northern Caucasus and Central Asia between 1925-1940. Beginning with Dziga Vertov and his vision of the Soviet space as a unified, multinational mosaic, Oksana Sarkisova rediscovers films by Vladimir Erofeev, Vladimir Shneiderov, Alexander Litvinov, Mikhail Slutskii, Amo Bek-Nazarov, Mikhail Kalatozov, Roman Karmen and other filmmakers who helped construct an image of Soviet ethnic diversity and left behind a lasting visual legacy.The book contributes to our understanding of changing ethnographic conventions of representation, looks at studies of diversity despite the homogenising ambitions of the Soviet project, and reexamines methods of blending reality and fiction as part of both ideological and educational agendas. Using a wealth of unexplored archival evidence from the Russian State Documentary Film and Photo Archive (RGAKFD) as well as the Gosfilmofond state film archive, Sarkisova examines constructions of exoticism, backwardness and Soviet-driven modernity through these remarkable and underexplored historical travelogues.
Author: Oksana Sarkisova
Publisher: Bloomsbury Publishing
ISBN: 1786730405
Category : Performing Arts
Languages : en
Pages : 322
Get Book Here
Book Description
Filmmakers in the early decades of the Soviet Union sought to create a cinematic map of the new state by portraying its land and peoples on screen. Such films created blueprints of the Soviet domain's scenic, cultural and ethnographic perimeters and brought together - in many ways disparate - nations under one umbrella. Categorised as kulturfilms, they served as experimental grounds for developing the cinematic formulae of a multiethnic, multinational Soviet identity. Screening Soviet Nationalities examines the non-fictional representations of Soviet borderlands from the Far North to the Northern Caucasus and Central Asia between 1925-1940. Beginning with Dziga Vertov and his vision of the Soviet space as a unified, multinational mosaic, Oksana Sarkisova rediscovers films by Vladimir Erofeev, Vladimir Shneiderov, Alexander Litvinov, Mikhail Slutskii, Amo Bek-Nazarov, Mikhail Kalatozov, Roman Karmen and other filmmakers who helped construct an image of Soviet ethnic diversity and left behind a lasting visual legacy.The book contributes to our understanding of changing ethnographic conventions of representation, looks at studies of diversity despite the homogenising ambitions of the Soviet project, and reexamines methods of blending reality and fiction as part of both ideological and educational agendas. Using a wealth of unexplored archival evidence from the Russian State Documentary Film and Photo Archive (RGAKFD) as well as the Gosfilmofond state film archive, Sarkisova examines constructions of exoticism, backwardness and Soviet-driven modernity through these remarkable and underexplored historical travelogues.
Author: Oksana Sarkisova
Publisher: Bloomsbury Publishing
ISBN: 178672040X
Category : Social Science
Languages : en
Pages : 354
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Book Description
Filmmakers in the early decades of the Soviet Union sought to create a cinematic map of the new state by portraying its land and peoples on screen. Such films created blueprints of the Soviet domain's scenic, cultural and ethnographic perimeters and brought together - in many ways disparate - nations under one umbrella. Categorised as kulturfilms, they served as experimental grounds for developing the cinematic formulae of a multiethnic, multinational Soviet identity. Screening Soviet Nationalities examines the non-fictional representations of Soviet borderlands from the Far North to the Northern Caucasus and Central Asia between 1925-1940. Beginning with Dziga Vertov and his vision of the Soviet space as a unified, multinational mosaic, Oksana Sarkisova rediscovers films by Vladimir Erofeev, Vladimir Shneiderov, Alexander Litvinov, Mikhail Slutskii, Amo Bek-Nazarov, Mikhail Kalatozov, Roman Karmen and other filmmakers who helped construct an image of Soviet ethnic diversity and left behind a lasting visual legacy.The book contributes to our understanding of changing ethnographic conventions of representation, looks at studies of diversity despite the homogenising ambitions of the Soviet project, and reexamines methods of blending reality and fiction as part of both ideological and educational agendas. Using a wealth of unexplored archival evidence from the Russian State Documentary Film and Photo Archive (RGAKFD) as well as the Gosfilmofond state film archive, Sarkisova examines constructions of exoticism, backwardness and Soviet-driven modernity through these remarkable and underexplored historical travelogues.
Author: Oksana Sarkisova
Publisher:
ISBN: 9781350987944
Category :
Languages : en
Pages : 0
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Book Description
"Filmmakers in the early decades of the Soviet Union sought to create a cinematic map of the new state by portraying its land and peoples on screen. Such films created blueprints of the Soviet domain's scenic, cultural and ethnographic perimeters and brought together - in many ways disparate - nations under one umbrella. Categorised as kulturfilms, they served as experimental grounds for developing the cinematic formulae of a multiethnic, multinational Soviet identity. Screening Soviet Nationalities examines the non-fictional representations of Soviet borderlands from the Far North to the Northern Caucasus and Central Asia between 1925-1940. Beginning with Dziga Vertov and his vision of the Soviet space as a unified, multinational mosaic, Oksana Sarkisova rediscovers films by Vladimir Erofeev, Vladimir Shneiderov, Alexander Litvinov, Mikhail Slutskii, Amo Bek-Nazarov, Mikhail Kalatozov, Roman Karmen and other filmmakers who helped construct an image of Soviet ethnic diversity and left behind a lasting visual legacy.The book contributes to our understanding of changing ethnographic conventions of representation, looks at studies of diversity despite the homogenising ambitions of the Soviet project, and reexamines methods of blending reality and fiction as part of both ideological and educational agendas. Using a wealth of unexplored archival evidence from the Russian State Documentary Film and Photo Archive (RGAKFD) as well as the Gosfilmofond state film archive, Sarkisova examines constructions of exoticism, backwardness and Soviet-driven modernity through these remarkable and underexplored historical travelogues."--...
Author: Caroline Damiens
Publisher: Bloomsbury Publishing
ISBN: 1350269905
Category : History
Languages : en
Pages : 321
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Book Description
In A Siberian History of Soviet Film, Caroline Damiens explores how the depictions of the indigenous 'Peoples of the North' in Soviet cinema and television evolved between 1920 and 1980. Damiens combines a detailed analysis of key works such as Forest People (1928), Igdenbu (1930), Dersu Uzala (1961 & 1975), Tymancha's Friend (1969) and The Most Beautiful Ships (1972), with primary sources like press articles, archives, and interviews, to reveal how these cinematic portrayals were created and negotiated, providing insight into the concepts of progress and authenticity in the Soviet context. She emphasises the role of indigenous individuals in shaping their cinematic image, both in front of and behind the camera, highlighting the works of lesser-known figures like Suntsai Geonka, Zinaida Pikunova, and Iurii Rytkheu. In doing so, Damiens emphasises the multifaceted nature of film, where interpretations differ based on the perspectives of those involved. Using a decolonial approach and drawing from extensive archival materials, Damiens prompts a re-evaluation of the Soviet cinematic past and present by centring indigenous voices in the narrative. In doing so, she provides a thorough exploration of the intricate relationship between culture, representation, and identity in Soviet cinema.
Author: Yulia Gradskova
Publisher: Springer
ISBN: 331999199X
Category : Social Science
Languages : en
Pages : 199
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Book Description
This book provides a new perspective through a closer look on “Other”, i.e. ethnic minority women defined by the Soviet documents as natsionalka. Applying decolonial theory and critical race and whiteness studies, the book analyzes archive documents, early Soviet films and mass publications in order to explore how the “emancipation” and “culturalization” of women of “culturally backward nations” was practiced and presented for the mass Soviet audience. Whilst the special focus of the book lies in the region between the Volga and the Urals (and Muslim women of the Central Eurasia), the Soviet emancipation practices are presented in the broader context of gendered politics of modernization in the beginning of the 20th century. The analysis of the Soviet documents of the 1920s-1930s not only subverts the Soviet story on “generous help” with emancipation of natsionalka through uncovering its imperial/colonial aspects, but also makes an important contribution to the studies of imperial domination and colonial politics. This book is addressed to all interested in Russian and Eurasian studies and in decolonial approach to gender history.
Author: Tim Winter
Publisher: Oxford University Press
ISBN: 0197605052
Category : History
Languages : en
Pages : 281
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Book Description
"Evocative and enigmatic, the Silk Road occupies a unique place in contemporary culture and international affairs. Across the world, it has captured the imagination as a story of camel caravans crossing desert and mountain, of precious goods moving between East and West, and of ideas, religions and technologies migrating across land and sea. As China seeks to "revive" the Silk Roads for the twenty-first century, this compelling, yet poorly understood, narrative of history now serves as a platform for building trade, diplomatic, infrastructure and geopolitical connections. "The Silk Road: Connecting Histories and Futures" is the first book to critically investigate the merits and problems of this fabled geocultural narrative of history, and map out the role it plays in international affairs. Four thematic sections trace its rise to global fame as a domain of scholarship and foreign policy, a celebration of peace and internationalism, and how it created dreams of exploration and grand adventure. China's Health Silk Road and civilizational politics are among the themes discussed that open up the Silk Roads as a space for critical enquiry"--
Author: Christine E. Evans
Publisher: MIT Press
ISBN: 0262546906
Category : Technology & Engineering
Languages : en
Pages : 251
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Book Description
The compelling and little-known history of satellite communications that reveals the Soviet and Eastern European roles in the development of its infrastructure. Taking its title from Hannah Arendt’s description of artificial earth satellites, No Heavenly Bodies explores the history of the first two decades of satellite communications. Christine E. Evans and Lars Lundgren trace how satellite communications infrastructure was imagined, negotiated, and built across the Earth’s surface, including across the Iron Curtain. While the United States’ and European countries’ roles in satellite communications are well documented, Evans and Lundgren delve deep into the role the Soviet Union and other socialist countries played in shaping the infrastructure of satellite communications technology in its first two decades. Departing from the Cold War binary and the competitive framework that has animated much of space historiography and telecommunications history, No Heavenly Bodies focuses instead on interaction, cooperation, and mutual influence across the Cold War divide. Evans and Lundgren describe the expansion of satellite communications networks as a process of negotiation and interaction, rather than a simple contest of technological and geopolitical prowess. In so doing, they make visible the significant overlaps, shared imaginaries, points of contact and exchange, and negotiated settlements that determined the shape of satellite communications in its formative decades.
Author: Charlie Keil
Publisher: Oxford University Press
ISBN: 019049669X
Category : Art
Languages : en
Pages : 825
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Book Description
The Oxford Handbook of Silent Cinema is a collection of new scholarship that investigates the first decades of motion-picture history from diverse perspectives and methodologies. Featuring over thirty essays by leading scholars in the field, the Handbook offers a comprehensive overview of cinema's earliest years while also illuminating how cinema derived strength from competing cultural forms, becoming in the process the most influential mass medium of the early twentieth century.
Author: Samuel Goff
Publisher: Bloomsbury Publishing
ISBN: 1350411175
Category : Performing Arts
Languages : en
Pages : 294
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Book Description
What distinguished the Soviet 'look'? How did Soviet thinkers and artists reimagine the relationship between observer and observed? Soviet Spectatorship answers these questions through an in depth exploration of Soviet physical culture and its on screen representations from the end of the Civil War to the eve of the Second World War. Samuel Goff identifies the three fundamental 'structures of looking' - surveillance, aesthetics, and spectatorship - that shaped representations of the embodied Soviet subject. Close readings of understudied films such as Happy Finish (1934), The Laurels of Miss Ellen Gray (1935) and A Strict Young Man (1936), are contextualised through a theoretical analysis of the relationship between subjectivity and the body. In doing so, Goff traces the evolution of a specific Soviet 'look', examining perspectives on Soviet aesthetics and theories of body and mind, uncovering continuities within Soviet visual cultures in a period usually understood in terms of discontinuity and rupture.
Author: Rossen Djagalov
Publisher: McGill-Queen's Press - MQUP
ISBN: 022800201X
Category : Literary Criticism
Languages : en
Pages :
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Book Description
Would there have been a Third World without the Second? Perhaps, but it would have looked very different. Although most histories of these geopolitical blocs and their constituent societies and cultures are written in reference to the West, the interdependence of the Second World in the East and the Third World is evident not only from a common nomenclature but also from their near-simultaneous disappearance around 1990. From Internationalism to Postcolonialism addresses this historical blind spot by recounting the story of two Cold War-era cultural formations that claimed to represent the Third World project in literature and cinema: the Afro-Asian Writers Association (1958-1991) and the Tashkent Festival for African, Asian, and Latin American Film (1968-1988). The inclusion of writers and filmmakers from the Soviet Caucasus and Central Asia and extensive Soviet support aligned these organizations with Soviet internationalism. While these cultural alliances between the Second and the Third World never achieved their stated aim - the literary and cinematic independence from the West of these societies from the West - they did forge what Ngugi wa Thiong'o called "the links that bind us," along which now-canonical postcolonial authors, texts, and films could circulate across the non-Western world until the end of the Cold War. In the process of this historical reconstruction, From Internationalism to Postcolonialism inverts the traditional relationship between Soviet and postcolonial studies: rather than studying the (post-)Soviet experience through the lens of postcolonial theory, it documents the multiple ways in which that theory and its attendant literary and cinematic production have been shaped by the Soviet experience.
