Soviet Cinematography, 1918–1991: Ideological Conflict and Social Reality

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Author(s): Dmitry Shlapentokh, Vladimir Shlapentokh
Series: Communication and Social Order
Edition: 1
Publisher: Aldine de Gruyer
Year: 1993

Language: English
Pages: 296
City: New York

Contents......Page 8
Preface......Page 14
Acknowledgments......Page 16
I. Theoretical and Historical Introduction......Page 18
Soviet Movies and the Objectivist-Constructionist Controversy about Realities......Page 20
The Concept of Reality in This Book......Page 24
Movie Reality as a Source of Information about Society......Page 25
Ideology and the Content of Movies......Page 28
Methodology......Page 34
Notes......Page 36
Soviet Movies As the Main Weapon of Soviet Ideology......Page 38
The Choice of Ideology......Page 39
Soviet Movie Directors and Truth......Page 41
How Filmmakers Were Controlled......Page 42
The Gradual Release from Fear......Page 48
Conclusion......Page 49
Notes......Page 50
II. Soviet Movies in the Revolutionary Period (1918—1928): Cordial Acceptance of Official Ideology......Page 54
Revolutionary Ideology and the Movies......Page 56
General Characteristics of the Movies......Page 57
Anti-Bolshevik Movies......Page 61
Notes......Page 64
The Ideological Climate and the Movies......Page 66
Movies in the Early 1920s......Page 68
Heroes in Private Life and Heroes As Lovers......Page 78
First Hidden Critics from the Inside......Page 81
Private Life as a Device......Page 82
The Historical Device......Page 84
Conclusion......Page 87
Notes......Page 88
III. Movies During Stalin’s Time: Total Submission to the Official Ideology......Page 90
Stalin's Infatuation with Cinema......Page 92
Soviet Cinematographers and Stalin......Page 95
Notes......Page 97
The Ideological Climate......Page 100
The Praise of Technology and Collectivism......Page 103
The Old Enemies: The Members of the Old Classes......Page 105
New Nationalists......Page 108
Notes......Page 110
Ideological Climate......Page 112
Soviet Cinematographers in the Time of Terror......Page 116
Notes......Page 132
War Ideology: The Focus on Russian Nationalism......Page 134
The Unity of People in the War......Page 135
The Glorification of Great Russians from the Past......Page 136
The Ideological Climate......Page 138
Notes......Page 142
IV. The Game with Official Ideology......Page 144
A New Ideological Atmosphere......Page 146
Coding and Decoding Works of Literature and Art......Page 147
The First Thaw......Page 148
Ideologically Loyal Movies......Page 149
The Praise of Intellectuals......Page 150
Social Conflicts and Flaws in Soviet Life......Page 151
The Legitimation of the Individual and His or Her Private Life......Page 152
The First Movies about Love......Page 156
A New Type of Hero — True Russians......Page 157
Notes......Page 162
The Political and Ideological Situation in 1968......Page 164
The Political Behavior of Filmmakers......Page 166
The Major Actors in Movies of Brezhnev's Time......Page 167
Conclusion......Page 188
Notes......Page 189
V. Soviet Cinematographers Reject Official Ideology: Cinema during the Last Years of the Soviet Empire......Page 190
Moviemakers and the Political Struggle in Gorbachev's Time......Page 194
The Self-Defense of the Old Cadres......Page 195
The Idols of the Soviet Movie Industry......Page 197
The First Movies in the Spirit of Glasnost (1986-1988)......Page 198
Notes......Page 199
Bureaucrats......Page 202
Bureaucrats As the Enemies of Perestroika......Page 204
Soviet Youth in the First Years of Perestroika......Page 205
The Masses......Page 211
Disbelief in the Success of Perestroika......Page 212
Notes......Page 213
The Emergence of a New Ideology in Movies......Page 214
Russian Critics Discover Socialist Realism in American Movies......Page 217
The Triumph of Existential Nihilism......Page 218
The Extent of Pessimism in Russian Movies......Page 219
From the Conquest of the Cosmos to the Flight to the Cosmos......Page 221
The Lack of Hope in Movies......Page 222
Pessimist Ideology As a Reflection of Russian Reality......Page 224
The Russian Question in the Movie Industry......Page 225
Privatization, Marketization, and Ideology......Page 227
The West and Ideology in Russian Movies......Page 228
Russian Directors in the West......Page 229
Former Negative Heroes......Page 230
Former Positive Heroes......Page 243
Notes......Page 250
15. Russian Movies after the Fall of the Empire......Page 256
Russian Viewers Refuse to See Sozart Movies and Prefer American Movies......Page 257
The Sudden Effect of the Old Stalinist Movies......Page 258
Final Notes......Page 259
Notes......Page 261
Filmography......Page 268
References......Page 270
Director List......Page 284
Index......Page 291