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This major reimagining of the history of Soviet film and its
cultural impact explores the fundamental transformations in how
film, through the senses, remade the Soviet self in the 1920s and
1930s. Following the Russian Revolution, there was a shared
ambition for a 'sensory revolution' to accompany political and
social change: Soviet men and women were to be reborn into a
revitalized relationship with the material world. Cinema was seen
as a privileged site for the creation of this sensory revolution:
film could both discover the world anew, and model a way of
inhabiting it. Drawing upon an extraordinary array of films, noted
scholar Emma Widdis shows how Soviet cinema, as it evolved from the
revolutionary avant-garde to Socialist Realism, gradually shifted
its materialist agenda from emphasizing the external senses to
instilling the appropriate internal senses (consciousness,
emotions) in the new Soviet subject.
This major reimagining of the history of Soviet film and its
cultural impact explores the fundamental transformations in how
film, through the senses, remade the Soviet self in the 1920s and
1930s. Following the Russian Revolution, there was a shared
ambition for a 'sensory revolution' to accompany political and
social change: Soviet men and women were to be reborn into a
revitalized relationship with the material world. Cinema was seen
as a privileged site for the creation of this sensory revolution:
film could both discover the world anew, and model a way of
inhabiting it. Drawing upon an extraordinary array of films, noted
scholar Emma Widdis shows how Soviet cinema, as it evolved from the
revolutionary avant-garde to Socialist Realism, gradually shifted
its materialist agenda from emphasizing the external senses to
instilling the appropriate internal senses (consciousness,
emotions) in the new Soviet subject.
In 1917 the Bolsheviks proclaimed a world remade. The task of the
new regime, and of the media that served it, was to reshape the old
world in revolutionary form, to transform the vast, "ungraspable"
space of the Russian Empire into the mapped territory of the Soviet
Union. This book shows how Soviet cinema encouraged popular support
for state initiatives in the years between the revolution and the
Second World War, helping to create a new Russian identity and
territory-an "imaginary geography" of Sovietness. Drawing on a vast
range of little-known texts, Emma Widdis offers a unique cultural
history of the early Soviet period. In particular, she shows how
films projected the new Soviet map onto the great shared screen of
the popular imagination.
What is Russia? Who are Russians? What is 'Russianness'? The
question of national identity has long been a vexed one in Russia,
and is particularly pertinent in the post-Soviet period. For a
thousand years these questions have been central to the work of
Russian writers, artists, musicians, film-makers, critics,
politicians and philosophers. Questions of national self-identity
permeate Russian cultural self-expression. This wide-ranging study,
designed for students of Russian literature, culture, and history,
explores aspects of national identity in Russian culture from
medieval times to the present day. Written by an international team
of scholars, the volume offers an accessible overview and a broad,
multi-faceted introductory account of this central feature of
Russian cultural history. The book is comprehensive and concise; it
combines general surveys with a wide range of specific examples to
convey the rich texture of Russian cultural expression over the
past thousand years.
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