The 1916 Revolt was a key event in the history of Central Asia, and of the Russian Empire in the First World War. This volume is the first comprehensive re-assessment of its causes, course and consequences in English for over sixty years. It draws together a new generation of leading historians from North America, Japan, Europe, Russia and Central Asia, working with Russian archival sources, oral narratives, poetry and song in Kazakh and Kyrgyz. These illuminate in unprecedented detail the origins and causes of the revolt, and the immense human suffering which it entailed. They also situate the revolt in a global perspective as part of a chain of rebellions and disturbances that shook the world's empires, as they crumbled under the pressures of total war. -- .

The 1916 Revolt was a key event in the history of Central Asia, and of the Russian Empire in the First World War. This volume is the first comprehensive re-assessment of its causes, course and consequences in English for over sixty years. It draws together a new generation of leading historians from North America, Japan, Europe, Russia and Central Asia, working with Russian archival sources, oral narratives, poetry and song in Kazakh and Kyrgyz. These illuminate in unprecedented detail the origins and causes of the revolt, and the immense human suffering which it entailed. They also situate the revolt in a global perspective as part of a chain of rebellions and disturbances that shook the world's empires, as they crumbled under the pressures of total war. -- .

Between the founding of Soviet Uzbekistan in 1924 and the Stalinist Terror of the late 1930s, a nationalist cinema emerged in Uzbekistan giving rise to the first wave of national film production and an Uzbek cinematographic elite. In Cinema, Nation, and Empire in Uzbekistan Cloé Drieu uses Uzbek films as a lens to explore the creation of the Soviet State in Central Asia, starting from the collapse of the Russian Empire up through the eve of WWII. Drieu argues that cinema provides a perfect angle for viewing the complex history of domination, nationalism, and empire (here used to denote the centralization of power) within the Soviet sphere. By exploring all of film's dimensions as a socio-political phenomenon—including film production, film reception, and filmic discourse—Drieu reveals how nation and empire were built up as institutional realities and as imaginary constructs. Based on archival research in the Uzbek and Russian State Archives and on in-depth analyses of 14 feature-length films, Drieu's work examines the lively debates within the totalitarian and so-called revisionist schools that invigorated Soviet historiography, positioning itself within contemporary discussions about the processes of state- and nation-building, and the emergence of nationalism more generally. Revised and expanded from the original French, Cinema, Nation, and Empire in Uzbekistan helps us to understand how Central Asia, formerly part of the Russian Empire, was decolonized, but later, in the run-up to the Stalinist period and repression of the late 1930s, suffered a new style of domination.

During the two World Wars that marked the 20th century, hundreds of thousands of non-European combatants fought in the ranks of various European armies. The majority of these soldiers were Muslims from North Africa, Sub-Saharan Africa, Central Asia, or the Indian Subcontinent. How are these combatants considered in existing historiography? Over the past few decades, research on war has experienced a wide-reaching renewal, with increased emphasis on the social and cultural dimensions of war, and a desire to reconstruct the experience and viewpoint of the combatants themselves. This volume reintroduces the question of religious belonging and practice into the study of Muslim combatants in European armies in the 20th century, focusing on the combatants' viewpoint alongside that of the administrations and military hierarchy.

Between the founding of Soviet Uzbekistan in 1924 and the Stalinist Terror of the late 1930s, a nationalist cinema emerged in Uzbekistan giving rise to the first wave of national film production and an Uzbek cinematographic elite. In Cinema, Nation, and Empire in Uzbekistan Cloe Drieu uses Uzbek films as a lens to explore the creation of the Soviet State in Central Asia, starting from the collapse of the Russian Empire up through the eve of WWII. Drieu argues that cinema provides a perfect angle for viewing the complex history of domination, nationalism, and empire (here used to denote the centralization of power) within the Soviet sphere. By exploring all of film's dimensions as a socio-political phenomenon-including film production, film reception, and filmic discourse-Drieu reveals how nation and empire were built up as institutional realities and as imaginary constructs. Based on archival research in the Uzbek and Russian State Archives and on in-depth analyses of 14 feature-length films, Drieu's work examines the lively debates within the totalitarian and so-called revisionist schools that invigorated Soviet historiography, positioning itself within contemporary discussions about the processes of state- and nation-building, and the emergence of nationalism more generally. Revised and expanded from the original French, Cinema, Nation, and Empire in Uzbekistan helps us to understand how Central Asia, formerly part of the Russian Empire, was decolonized, but later, in the run-up to the Stalinist period and repression of the late 1930s, suffered a new style of domination.

During the two World Wars that marked the 20th century, hundreds of thousands of non-European combatants fought in the ranks of various European armies. The majority of these soldiers were Muslims from North Africa, Sub-Saharan Africa, Central Asia, or the Indian Subcontinent. How are these combatants considered in existing historiography? Over the past few decades, research on war has experienced a wide-reaching renewal, with increased emphasis on the social and cultural dimensions of war, and a desire to reconstruct the experience and viewpoint of the combatants themselves. This volume reintroduces the question of religious belonging and practice into the study of Muslim combatants in European armies in the 20th century, focusing on the combatants' viewpoint alongside that of the administrations and military hierarchy.