Download Stalinist cinema and the production of history : museum of by Evgeny Dobrenko PDF

By Evgeny Dobrenko

ISBN-10: 0748632433

ISBN-13: 9780748632435

ISBN-10: 0748634452

ISBN-13: 9780748634453

This booklet explores how Soviet movie labored with time, the prior, and reminiscence. It seems to be at Stalinist cinema and its function within the creation of historical past. Cinema's position within the legitimization of Stalinism and the construction of a brand new Soviet identification was once huge, immense. either Lenin and Stalin observed during this 'most vital of arts' the best type of propaganda and 'organisation of the masses'. via reading the works of the best Soviet filmmakers of the Stalin era--Sergei Eisenstein, Vsevolod Pudovkin, Grigorii Kozintsev, Leonid Trauberg, Fridrikh Ermler--the writer explores the function of the cinema within the formation of the Soviet political mind's eye

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Extra info for Stalinist cinema and the production of history : museum of the revolution

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This time Pugachev, with candles in his hands, addresses the crowd and his executioners with the words: ‘You cannot force the people to be silent! They will again gather strength! ’ The other salvation from the all-explaining ‘class conflicts’ of Marxist narrative was melodrama. It is interesting that, although the families of the heroes play important roles in the plots of both films, they are not the focus of the heroes’ interest. In Razin, the hero’s wife Alyona appears with her child before the viewer immediately after the scene with the Princess, with whom Razin, we must suggest, has betrayed his wife.

That’s barking, not words! ’34 The screen Razin answers the question of the boyar torturing him about buried treasure and treasure houses with a monologue: ‘The treasure is not in the earth. It is on the earth. The treasure is the whole of the Russian people. You won’t extinguish the fire throughout Rus’ with blood or water! ’ From the dais before his execution he addresses the weeping people who have filled Red Square with the words: ‘Forgive me, people of Russia! I came for you! ’ At the end of Pugachev this scene is repeated.

31 And although Chapygin’s contribution was interpreted as ‘directly combat[ting] the Menshevik interpretation of the role of the peasantry in the history of the class struggle’,32 the novel was the product of a totally different era, and that is why Razin in the novel was in any case far from sugar-coated (which of course did not stop Chapygin modernising his hero, making him godless and tsar-hating, both impossible in the seventeenth century). At the end of the novel Razin directly foretells the Soviet epoch: Cut me to shreds, don’t waver!

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Stalinist cinema and the production of history : museum of the revolution by Evgeny Dobrenko


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