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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.
How do post-communist museums and cinema contribute to shaping the
image of a communist past in contemporary Central and Eastern
Europe? This is the first systematic analysis of the use of visual
techniques in grasping what the previous regime means. Museums and
memorials started mushrooming all over East and Central Europe, in
the former communist world, after the past was lost 1989. While
reflecting on possible, actual meanings of the lost history the aim
of shaping public opinion and discourse of the recent communist
past also became apparent. Most of these undertakings--movies
included--tried hard to make political use of recollections of the
earlier world, and employed select tools from contemporary
museological, memorializing and new-media practice to make their
politicized intent historically credible. Thirteen essays from
scholars in the region deal with the use of new media in shaping
and fashioning popular perception of the previous era, and provide
a fresh approach to the subject.
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.
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