Notes to Chapter 1
Notes Russian names in the text are given in a simplified form, but in the references below they are transliterated according to the Slavonic Review system. Notes to Chapter 1 1. A detailed documentation of October is in Sergej Eisenstein, Schriften, vol. 3, ed. H. J. Schlegel (Munich, 1975). Cf. the analysis by O. Roth Lindberg, 'Transformation as a Device in Eisenstein's Visual Language', in Lars Kleberg and Hakan Lovgren (eds), Eisenstein Revisited. A Collec tion of Essays (Stockholm, 1987), pp. 25-38. 2. See Mona Ozouf, Festivals and the French Revolution, trans. Alan Sheridan (Cambridge, Mass. and London, 1988) and A. Mazaev, Prazdnik kak sotsial'no-khudozhestvennoe iavlenie (Moscow, 1978). 3. 'Slap in the Face of Public Taste', in Anna Lawton (ed.), Russian Futurism through its Manifestos, 1912-1928 (Ithaca and London, 1988), pp. 51-2. 4. The aesthetic theory of the Russian avant-garde in relation to earlier and later developments is analysed in Boris Groys, Gesamtkunstwerk Stalin (Munich, 1988) (translation into English by Charles Rougle, The Total Art of Stalinism, Princeton University Press, 1991); Groys develops the same argument in his 'The Birth of Socialist Realism from the Spirit of the Russian Avant-Garde', in Hans Gunther (ed.), The Culture of the Stalinist Period (London, 1990), pp. 122--48. For the general theory of the autonomisation process and the avant-garde's subsequent project to abol ish the institution of art, see Peter Burger, Theory of the Avant-Garde, trans. Michael Shaw (Manchester, 1984). 5. Cf. Richard Taylor, 'From October to October: the Soviet Political System and its Films', in M.
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