The project to create a ‘New Man’ and ‘New Woman’ initiated in the Soviet Union and the Eastern Bloc constituted one of the most extensive efforts to remake human psychophysiology in modern history. Playing on the different meanings of the word ‘technology’ — as practice, knowledge and artefact — this edited volume brings together scholarship from across a range of fields to shed light on the ways in which socialist regimes in the Soviet bloc and Eastern Europe sought to transform and revolutionise human capacities. From external, state-driven techniques of social control and bodily management, through institutional practices of transformation, to strategies of self-fashioning, Technologies of Mind and Body in the Soviet Union and the Eastern Bloc probes how individuals and collectives engaged with — or resisted — the transformative imperatives of the Soviet experiment. The volume’s broad scope covers topics including the theory and practice of revolutionary embodiment; the practice of expert knowledge and disciplinary power in psychotherapy and criminology; the representation and transformation of ideal bodies through mass media and culture; and the place of disabled bodies in the context of socialist transformational experiments. The book brings the history of human ‘re-making’ and the history of Soviet and Eastern Bloc socialism into conversation in a way that will have broad and lasting resonance.

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.