Drawing on documents from archives in St Petersburg and Moscow, the analysis portrays film production "in the round" and shows that the term "censorship" is less appropriate than the description preferred in the Soviet film industry itself, "control," which referred to a no less exigent but far more complex and sophisticated process. The book opens with four framing chapters that examine the overall context in which films were produced. The two opening chapters trace the various crises that beset film production between 1961 and 1970 (Chapter 1) and 1970 and 1985 (Chapter 2). These are followed by a chapter on the working life of the studio and particularly the technical aspects of production (Chapter 3), and a chapter on the studio aesthetic (Chapter 4). The second part of the book comprises close analyses of fifteen films that are particularly typical of the studio's production and which had especial impact within the studio and beyond. .

This volume explores the cinema of the former Soviet Union and contemporary Russia, ranging from the pre-Revolutionary period to the present day. It offers an insight into the development of Soviet film, from 'the most important of all arts' as a propaganda tool to a means of entertainment in the Stalin era, from the rise of its 'dissident' art-house cinema in the 1960s through the glasnost era with its broken taboos to recent Russian blockbusters. Films have been chosen to represent both the classics of Russian and Soviet cinema as well as those films that had a more localised success and remain to date part of Russia's cultural reference system. The volume also covers a range of national film industries of the former Soviet Union in chapters on the greatest films and directors of Ukrainian, Kazakh, Georgian and Armenian cinematography. Films discussed include Strike (1925), Earth (1930), Ivan's Childhood (1962), Mother and Son (1997) and Brother (1997).

The Russian Canvas charts the remarkable rise of Russian painting in the 18th and 19th centuries, and the nature of its relationship with other European schools. Starting with the foundation of the Imperial Academy of the Arts in 1757 and culminating with the assassination of Tsar Alexander II in 1881, it details the professionalization and wide-ranging activities of painters against a backdrop of dramatic social and political change. The Imperial Academy formalized artistic training but later became a foil for dissent, as successive generations of painters negotiated their own positions between pan-European engagement and local and national identities. Drawing on original archival research, this groundbreaking book recontextualizes the work of major artists, revives the reputations of others, and explores the complex developments that took Russian painters from provincial anonymity to international acclaim.

This massive book of Soviet propaganda posters, many rare and never before published, is at once a revealing historical document and a sublime example of graphic art at its best. Dating from 1917 to the beginning of the Cold War, the posters in this book feature the work of such major Russian ground-breaking avant-garde designers as El Lissitzky and Alexander Rodchenko as well as extraordinary works by anonymous artists. Presented in full color, the 250 posters gathered here range in themes from warnings about the dangers of alcohol abuse and the creeping Nazi menace to illustrations of utopian harmony and the Soviet industrial machine. A brief illustrated introduction offers a chronological overview of the period that produced such eloquent art, which has long been a major source of inspiration to artists and designers.

At the outset of the twentieth century, the Nivkhi of Sakhalin Island were a small population of fishermen under Russian dominion and an Asian cultural sway. The turbulence of the decades that followed would transform them dramatically. While Russian missionaries hounded them for their pagan ways, Lenin praised them; while Stalin routed them in purges, Khrushchev gave them respite; and while Brezhnev organized complex resettlement campaigns, Gorbachev pronounced that they were free to resume a traditional life. But what is tradition after seven decades of building a Soviet world? Based on years of research in the former Soviet Union, Bruce Grant's book draws upon Nivkh interviews, newly opened archives, and rarely translated Soviet ethnographic texts to examine the effects of this remarkable state venture in the construction of identity. With a keen sensitivity, Grant explores the often paradoxical participation by Nivkhi in these shifting waves of Sovietization and poses questions about how cultural identity is constituted and reconstituted, restructured and dismantled. Part chronicle of modernization, part saga of memory and forgetting, In the Soviet House of Culture is an interpretive ethnography of one people's attempts to recapture the past as they look toward the future. This is a book that will appeal to anthropologists and historians alike, as well as to anyone who is interested in the people and politics of the former Soviet Union.

On the 100th anniversary of the Russian Revolution, the epic story of an enormous apartment building where Communist true believers lived before their destruction The House of Government is unlike any other book about the Russian Revolution and the Soviet experiment. Written in the tradition of Tolstoy's War and Peace, Grossman’s Life and Fate, and Solzhenitsyn’s The Gulag Archipelago, Yuri Slezkine’s gripping narrative tells the true story of the residents of an enormous Moscow apartment building where top Communist officials and their families lived before they were destroyed in Stalin’s purges. A vivid account of the personal and public lives of Bolshevik true believers, the book begins with their conversion to Communism and ends with their children’s loss of faith and the fall of the Soviet Union. Completed in 1931, the House of Government, later known as the House on the Embankment, was located across the Moscow River from the Kremlin. The largest residential building in Europe, it combined 505 furnished apartments with public spaces that included everything from a movie theater and a library to a tennis court and a shooting range. Slezkine tells the chilling story of how the building’s residents lived in their apartments and ruled the Soviet state until some eight hundred of them were evicted from the House and led, one by one, to prison or their deaths. Drawing on letters, diaries, and interviews, and featuring hundreds of rare photographs, The House of Government weaves together biography, literary criticism, architectural history, and fascinating new theories of revolutions, millennial prophecies, and reigns of terror. The result is an unforgettable human saga of a building that, like the Soviet Union itself, became a haunted house, forever disturbed by the ghosts of the disappeared.

This monograph traces the history of Kazakh filmmaking from its conception as a Soviet cultural construction project to its peak as fully-fledged national cinema to its eventual re-imagining as an art-house phenomenon. The author’s analysis places leading directors—Shaken Aimanov, Abdulla Karsakbaev, Sultan-Akhmet Khodzhikov, Mazhit Begalin—in their sociopolitical and cultural context.

A James Beard Award-winning writer captures life under the Red socialist banner in this wildly inventive, tragicomic memoir of feasts, famines, and three generations “Delicious . . . A banquet of anecdote that brings history to life with intimacy, candor, and glorious color.”—NPR’s All Things Considered Born in 1963, in an era of bread shortages, Anya grew up in a communal Moscow apartment where eighteen families shared one kitchen. She sang odes to Lenin, black-marketeered Juicy Fruit gum at school, watched her father brew moonshine, and, like most Soviet citizens, longed for a taste of the mythical West. It was a life by turns absurd, naively joyous, and melancholy—and ultimately intolerable to her anti-Soviet mother, Larisa. When Anya was ten, she and Larisa fled the political repression of Brezhnev-era Russia, arriving in Philadelphia with no winter coats and no right of return. Now Anya occupies two parallel food universes: one where she writes about four-star restaurants, the other where a taste of humble kolbasa transports her back to her scarlet-blazed socialist past. To bring that past to life, Anya and her mother decide to eat and cook their way through every decade of the Soviet experience. Through these meals, and through the tales of three generations of her family, Anya tells the intimate yet epic story of life in the USSR. Wildly inventive and slyly witty, Mastering the Art of Soviet Cooking is that rare book that stirs our souls and our senses. ONE OF THE BEST BOOKS OF THE YEAR: The Christian Science Monitor, Publishers Weekly

From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists’ goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.

World War II irrevocably shaped culture--and much of cinema--in the 20th century, thanks to its devastating, global impact that changed the way we think about and portray war. This book focuses on European war films made about the war between 1945 and 1985 in countries that were occupied or invaded by the Nazis, such as Poland, France, Italy, the Soviet Union, and Germany itself. Many of these films were banned, censored, or sharply criticized at the time of their release for the radical ways they reframed the war and rejected the mythologizing of war experience as a heroic battle between the forces of good and evil. The particular films examined, made by arthouse directors like Pier Paolo Pasolini, Rainer Werner Fassbinder, and Larisa Shepitko, among many more, deviate from mainstream cinematic depictions of the war and instead present viewpoints and experiences of WWII which are often controversial or transgressive. They explore the often-complicated ways that participation in war and genocide shapes national identity and the ways that we think about bodies and sexuality, trauma, violence, power, justice, and personal responsibility--themes that continue to resonate throughout culture and global politics.