DOCSLIB.ORG

Download Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Thesis This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991. The USSR was one of the central participants in WWII and lost over a million of its Jewish population in the Holocaust. While the suffering of the Soviet nation was vividly depicted in arts and history texts, forming a significant part of popular culture, the violence against Jews often appeared to be a (deliberately) forgotten chapter. In the multi-ethnic and multi-national state – whose pre-Revolutionary anti-Semitic history produced the very concept of pogrom – official Soviet ideology, propagating a sense of unity, emphasised the Soviet identity of the victims and refused to differentiate between the dead. Moreover, the devastating statistics of all the casualties of the Soviet-German war (1941-1945) occupied a central place in popular memory, overpowering the proportionally smaller number of Holocaust victims. Throughout the period studied in this thesis, history and memory of the Holocaust underwent a series of repressions and re-evaluations, constantly shifting between the margins and the forefront, between official and unofficial knowledge. This thesis is a chronological study of the role played by Soviet cinema in relation to the shifting discourses of memory, knowledge and history of the Holocaust. Comprised of four chapters, my work traces the trajectory of cinematic portrayals through four main historical periods, under the respective leaderships of Joseph Stalin, Nikita Khrushchev, Leonid Brezhnev and Mikhail Gorbachev. Accounting for the interrelation between Soviet ideology, censorship, the Soviet film industry, cinematic genres and individual film texts, I tease out the complexity and versatility of Soviet cinema’s relationship with the subject of the Holocaust. 2 TABLE OF CONTENTS Abstract 2 Table of Contents 3 Table of Illustrations 4 Acknowledgements 6 Note on Transliteration 7 Introduction 8 Chapter 1: Holocaust cinema during Stalinism 32 Section One – USSR Responds to the Nazi Persecution of European 34 Jews during the 1930s Section Two – The Soviet-German War and the Holocaust 41 Section Three – The Erasure of the Holocaust in the Post-War 70 Stalinist Period Chapter 2: Holocaust cinema during the ‘Thaw’ 82 Section One – The Holocaust in the Present 89 Section Two – The Memory of the Holocaust through Flashbacks 99 Section Three – The Holocaust through Flash-Forwards 127 Chapter 3: Holocaust cinema during the ‘Stagnation’ 144 Section One – Apparent Erasure of the Holocaust 153 Section Two – Verbal and Visual References to the Holocaust 163 Section Three – Jewish Victims on Screen 176 Chapter 4: Holocaust cinema and the collapse of the USSR 197 Section One – Transition from the ‘Stagnation’ to Perestroika 198 Section Two – From Perestroika to the Collapse 208 Conclusion 250 Bibliography 261 Filmography 278 3 Table of Illustrations Fig. 1: A sign in the pharmacy reads ‘It is forbidden to buy from 38 this Jewish store’ in Swamp Soldiers Fig. 2: A clear marker of Jewish victimhood 46 Fig. 3: The individuality and the enormity of the dead captured 49 in one shot Fig. 4: Tracking past barbed wire fences 51 Fig. 5: A Ukrainian perspective on the Holocaust 62 Fig. 5.1: A visual contrast suggests the uniqueness of the 64 Jewish plight Fig. 5.2: Four different editing combinations imply an 67 impersonal perspective Fig. 6: Medvedev’s unpleasant appearance highlights his negative 75 deed Fig. 7: Recreating the visual motifs of Auschiwtz (right) in Peace to 97 Him Who Enters (left) Fig. 7.1: The first Jewish camp survivor in the cinema of the ‘Thaw’ 98 Fig. 8: A Russian POW observes the suffering of European Jews 104 Fig. 8.1: A documentary-like reconstruction suggests the difference 105 between European Jews and Soviet POWs Fig. 8.2: The chimney depicts the incessant work of the crematoria and 106 acts as a foreboder of Sokolov’s fate Fig. 9: Fragments from Auschwitz represent the memory of the Babii Iar 109 massacre tormenting the Ukrainian character Fig.9.1: Extracts from The Unvanquished reused in Two Years 110 above an Abyss Fig. 10: An abrupt graphic match draws parallels between the past 118 and the present Fig. 10.1: The widely recognised icons of the Holocaust appear 121 in Soviet cinema of the 1960s Fig. 10.2: Epistemological error in the usage of archival imagery 124 Fig. 11: An icon of the Shoah in Good-bye, Boys 129 Fig. 11.1: Featuring newsreel footage of Auschwitz in form of a flash-forward 130 Fig. 12: The beginning of Vavilova’s vision 135 Fig. 12.1: A symbolic depiction of the Holocaust 136 Fig. 12.2: Smoke as a silent signifier of the Final Solution 137 Fig. 12. 3: A Russian commissar addresses the viewer from the site 138 of a Jewish trauma Fig. 13: Manipulation of archival footage to highlight Russian 158 victimhood Fig. 13.1: The editing in the scene accentuates a Slavic perspective on 160 the Holocaust Fig. 14: Anti-Semitic ideology in popular culture of the Third Reich 162 Fig. 15: Territorial and ethnic displacement of the archival material 165 Fig. 16: The soldiers discover empty ovens in a death camp 174 Fig. 17: Recurring iconography of a death camp 179 Fig. 17.1: Editing suggests death in a gas chamber 180 Fig. 18: Recurring trope of a Jewish death march 185 4 Fig. 19: Sotnikov’s Christ-like face 191 Fig. 19.1: Formal and thematic equality in death 193 Fig. 20: The ‘otherness’ of the Jewish victim 205 Fig. 21: The Jewish identity of the victims is restored 223 Fig. 21.1: Soviet Jews uncover their history 224 Fig. 22: A Jewish actor contemplates the history of 225 the Holocaust Fig. 23: The mise-en-scène accentuates the impossibility 234 of reconciliation Fig. 23.1: The silent face of a Holocaust survivor 235 Fig. 24: Jewish traditions observed by the Reznik family 240 Fig. 25: Isaac’s premonition of the Holocaust restores the original 245 meaning of the archival footage 5 ACKNOWLEDGEMENTS This thesis would not have been possible without a number of people. I would like to thank Professor Ginette Vincendeau for initially expressing interest in my proposal and for acting as my main supervisor for the subsequent four years. I am grateful to King’s College, London for the financial support of this thesis through the Graduate School Studentship and the Overseas Research Students Award. Being part of the KCL Film Studies department was an inspiring and intellectually stimulating experience so I am thankful to all the staff and fellow PhD researchers. It is also important to acknowledge the help of Jeremy Hicks and Libby Saxton at QMUL. While both have encouraged my interest in a doctoral project from the time when I was an MA student at Queen Mary, it was Jeremy’s input as an additional supervisor of my PhD thesis that was invaluable. I was lucky enough to interview some members of the former Soviet film industry and I am grateful for their time and insight. I appreciate the assistance of Vadim Naumenko, Ivan Panfilov and Evgenii Tsymbal in arranging some of the interviews. I would like to thank my second supervisor, Stephen Lovell, as well as Ben Ross and Jeof Spiro for reading segments of this thesis and providing feedback. This thesis would not have been possible without the support of my family and close friends. I am particularly grateful to my father, Dmitrii, without whom this project would not have been possible. I am also thankful to my friends Margarita Osepyan and Natalia Vartapetova for assistance with some fieldwork in Moscow. I would like to thank Ksenia Vashchenko for being a sensitive friend and housemate, particularly during the four years of my PhD work. Last but not least, I am grateful to Steve Browell for teaching me how to listen to films. This thesis is dedicated to two Holocaust survivors, my great grandmother, Rosa, and my grandfather, Iurii, whose experiences are a source of constant inspiration to me. 6 NOTE ON TRANSLITERATION This thesis uses the Library of Congress system for names and titles. An exception is made in cases of commonly accepted usage: for example, ‘Sergei Eisenstein’ rather than ‘Sergei Eizenshtein’, and ‘Larisa Shepitko’ rather than ‘Larisa Shepit’ko’.
Load more

Recommended publications
  • Beumers, Birgit (Ed.)
    Beumers, Birgit (ed.). A Companion to Russian Cinema, The Wiley Blackwell Companions to National Cinemas, Wiley Blackwell, Chichester and Malden, MA, 2016. xvi + 656 pp. Illustrations. Notes. References. Appendix. Bibliography. Index. $195: £156 (hardback); $156.99: £140.99 (e-book). PART of The Wiley Blackwell Companions to National Cinemas series, the much anticipated A Companion to Russian Cinema is a rich and capacious volume. Edited by Birgit Beumers, one of the field’s most knowledgeable and indefatigable scholars, it comprises 25 newly commissioned chapters, written by leading experts and academics working in Russian cinema studies independently or at various American, British, Canadian, French, Hungarian and Russian institutions. In her helpful Introduction, which provides a concise survey of the state of the field and outlines the Companion’s scope and structure, Beumers acknowledges that attempting to provide a comprehensive account of the whole history of Russian cinema in the Companion would have been ‘ambitiously [to] aim at the impossible’ (p. 1). Instead, therefore, she elects to focus on the ‘task of “filling gaps”’ (p. 4), by including contributions that explore some of the significant films, periods, filmmakers and genres that have been ‘traditionally neglected in film histories and scholarship’ (p. 2). Divided into five thematically organized parts, the Companion thus seeks to provide ‘five alternative histories of Russian cinema’ (p. 16). Accordingly, within each part the chapters are arranged in a loosely chronological order, to convey a ‘sense of progression’ (p. 4). While each of the five parts does not cover the complete one-hundred-and-ten-year period since Russian feature filmmaking began, the Companion as a whole does broadly achieve this.
    [Show full text]
  • Aleksandra Khokhlova
    Aleksandra Khokhlova Also Known As: Aleksandra Sergeevna Khokhlova, Aleksandra Botkina Lived: November 4, 1897 - August 22, 1985 Worked as: acting teacher, assistant director, co-director, directing teacher, director, film actress, writer Worked In: Russia by Ana Olenina Today Aleksandra Khokhlova is remembered as the star actress in films directed by Lev Kuleshov in the 1920s and 1930s. Indeed, at the peak of her career she was at the epicenter of the Soviet avant-garde, an icon of the experimental acting that matched the style of revolutionary montage cinema. Looking back at his life, Kuleshov wrote: “Nearly all that I have done in film directing, in teaching, and in life is connected to her [Khokhlova] in terms of ideas and art practice” (1946, 162). Yet, Khokhlova was much more than Kuleshov’s wife and muse as in her own right she was a talented author, actress, and film director, an artist in formation long before she met Kuleshov. Growing up in an affluent intellectual family, Aleksandra would have had many inspiring artistic encounters. Her maternal grandfather, the merchant Pavel Tretyakov, founder of the Tretyakov Gallery in Moscow, was a philanthropist and patron who purchased and exhibited masterpieces of Russian Romanticism, Realism, and Symbolism. Aleksandra’s parents’ St. Petersburg home was a prestigious art salon and significant painters, actors, and musicians were family friends. Portraits of Aleksandra as a young girl were painted by such eminent artists as Valentin Serov and Filipp Maliavin. Aleksandra’s father, the doctor Sergei Botkin, an art connoisseur and collector, cultivated ties to the World of Arts circle–the creators of the Ballets Russes.
    [Show full text]
  • DIRECTOR Larisa Shepitko WRITING Yuri Klepikov and Larisa Shepitko Wrote the Screenplay Adapted from a Novel by Vasiliy Bykov
    October 29, 2019 (XXXIX:10) Larisa Shepitko: THE ASCENT (1977, 111m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Larisa Shepitko WRITING Yuri Klepikov and Larisa Shepitko wrote the screenplay adapted from a novel by Vasiliy Bykov. Production Company Mosfilm MUSIC Alfred Schnittke CINEMATOGRAPHY Vladimir Chukhnov and Pavel Lebeshev EDITING Valeriya Belova CAST Boris Plotnikov...Sotnikov Vladimir Gostyukhin...Rybak Sergey Yakovlev...Village elder Lyudmila Polyakova...Demchikha Viktoriya Goldentul...Basya Anatoliy Solonitsyn...Portnov, the Nazi interrogator Mariya Vinogradova...Village elder's wife Nikolai Sektimenko...Stas' She also adopted his motto, "Make every film as if it's your last." Shepitko graduated from VGIK in 1963 with LARISA SHEPITKO (b. January 6, 1938 in her prize winning diploma film Heat*, or Znoy made Artyomovsk, Ukrainian SSR, USSR [now Artemivsk, when she was 22 years old. The film was influenced by a Donetsk Oblast, Ukraine]—d. July 2, 1979 (age 41) in short story, ''The Camel's Eye'', by Chingiz Aitmatov. near Redkino, Kalinin Oblast, Russian SFSR, USSR), Her 1967 short film, “Homeland of electricity,”* part of whose filmmaking career was tragically cut short by a car the omnibus Beginning of an Unknown Era, suffered accident, was on the verge of becoming a name censorship for its perceived negative portrayal of the synonymous with internationally renowned directors to Bolsheviks, despite its intention to commemorate the emerge from the Soviet Union.
    [Show full text]
  • October 30, 2012 (XXV:9) Elim Klimov, COME and SEE/Иди И Смотри (1985, 136 Min)
    October 30, 2012 (XXV:9) Elim Klimov, COME AND SEE/Иди и смотри (1985, 136 min) Directed by Elem Klimov Written by Ales Adamovich and Elem Klimov Original Music by Oleg Yanchenko Cinematography by Aleksei Rodionov Film Editing by Valeriya Belova Production Design by Viktor Petrov Art Direction by Viktor Petrov Set Decoration by Viktor Petrov P. Gutenko…military advisor Aleksey Kravchenko…Florya Gaishun Olga Mironova…Glasha Liubomiras Lautsyavichius …Kosach Vladas Bagdonas Jüri Lumiste Viktor Lorents Kazimir Rabetsky Yevgeni Tilicheyev Aleksandr Berda vracha, 1964 Welcome, or No Trespassing, 1962 Smotrite, nebo!, G. Velts 1960 Zhenikh, and 1959 Ostorozhno: poshlost. V. Vasilyev Igor Gnevashev ALEKSEI RODIONOV (April 26, 1947, Moscow, Soviet Union) has 23 Vasili Domrachyov cinematographer credits: 2011 Generation P, 2008 Admiral, 2004/I G. Yelkin Yes, 2002 Letniy dozhd, 2002 Where Eskimos Live, 2000 24 Hours, Ye. Kryzhanovsky 2000 Eisenstein, 2000/I “Cinderella”, 1998 Talk of Angels, 1997 N. Lisichenok Passion in the Desert, 1995-1996 “Red Shoe Diaries”, 1995 Viktor Manaev Musulmanin, 1993 Ya khotela uvidet angelov, 1992 Orlando, 1989 Takhir Matyullin Zhena kerosinshchika, 1987 Shura i Prosvirnyak, 1986 My vesely, Pyotr Merkurev schastlivy, talantlivy!, 1985 Come and See (as A. Rodionov), 1985 Valentin Mishatkin “Vstrecha pered razlukoy”, 1985 “Protivostoyanie”, 1983 Sredi G. Matytsky serykh kamney, 1983 Proshchanie,, and 1970 Moya sudba. Yevgeniya Polyakova Anatoli Slivnikov Georgi Strokov ALEKSEY KRAVCHENKO… Florya Gaishun (Aleksei Yevgenyevich
    [Show full text]
  • Visualizing the Past: Perestroika Documentary Memory Of
    VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA by Erin Rebecca Alpert B.A. in Global Studies, College of William and Mary, 2007 M.A. in Slavic Languages and Literatures, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Erin Alpert It was defended on May 12, 2014 and approved by Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Jeremy Hicks, Reader, Queen Mary University of London, Department of Russian Dissertation Advisor: Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Erin Alpert 2014 iii VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA Erin Alpert, PhD University of Pittsburgh, 2014 The main goal of this dissertation is to look at how, during perestroika, documentary breaks away from the traditional notions of the genre in order to reexamine and redefine traumatic events from the Stalinist period. The first chapter examines the nuances of three critical terms: “documentary,” “collective memory,” and “cultural trauma.” I then turn to a historical approach, exploring how political culture and technology affected the content, production, and screening of documentaries, first discussing the time leading up to perestroika and then the massive changes during the glasnost era. In the final chapters, I argue that there are three primary approaches the films examined in this project take to understanding the past.
    [Show full text]
  • No List of Political Assets
    Slavistische Beiträge ∙ Band 248 (eBook - Digi20-Retro) Jerry T.Heil No List of Political Assets The Collaboration of Iurii Olesha and Abram Room on "Strogii Iunosha" [A Strict Youth (1936)] Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access 00050392 Sl a v is t ic h e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 248 VERLAG OTTO SAGNER MÜNCHEN Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access 00050392 JERRY T. HEIL NO LIST OF POLITICAL ASSETS: The Collaboration of lurii Olesha and Abram Room “ Strogii lunosha” [A Strict Youth (1936)] VERLAG OTTO SAGNER • MÜNCHEN 1989 Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access ISBN 3-87690-449-8 © Verlag Otto Sagner, München 1989 Abteilung der Firma Kubon & Sagner, München Jerry T. Heil - 9783954791941 Downloaded from PubFactory at 01/10/2019 03:46:41AM via free access Acknowledgments The research that led to this essay (and others) was made possible by a grmt from the International Research and Exchanges Board (IREX)f Princeton, New Jersey, an agency partially funded by the United States' N a tia ia l Endowment fo r the H um anities, W ashington, D.C.
    [Show full text]
  • Stephen Norris
    Stephen M. Norris Department of History Miami University 6308 Firestone Drive 200 Upham, 100 Bishop Circle Fairfield, OH 45014 Oxford, OH 45056 513-529-2615 513-529-3224 (fax) [email protected] CURRICULUM VITAE ACADEMIC APPOINTMENTS 2013- Miami University (OH). Professor of History, Faculty Associate of the Havighurst Center for Russian and Post-Soviet Studies. 2013-2016 Assistant Director, Havighurst Center for Russian and Post-Soviet Studies. 2008-2013 Miami University (OH). Associate Professor of History, Faculty Associate of the Havighurst Center for Russian and Post-Soviet Studies. 2002-2008 Miami University (OH). Assistant Professor of History, Faculty Associate of the Havighurst Center for Russian and Post-Soviet Studies 2006-2010 Miami University (OH). Director of Film Studies 1 EDUCATION Ph.D (2002) Russian History, University of Virginia; Minor Field: Latin America Since Independence Dissertation: “Russian Images of War: The Lubok and Wartime Culture, 1812- 1917” M.A (1996) Modern European History, University of Virginia (1996); Exam Fields: Imperial Russia, Modern Germany B.A (1994) History, Minor in Literature, Millikin University [Decatur, IL] (1994); Magna cum Laude, Honors in History. Russian Language Certificate, Kazan State University, Republic of Tatarstan, Russian Federation (1997) Intensive Russian, Summer Language Program, University of Virginia (1994) PUBLICATIONS BOOKS: Blockbuster History in the New Russia: Movies, Memory, and Patriotism. [cloth and paperback editions] (Bloomington: Indiana University Press, 2012). http://www.iupress.indiana.edu/product_info.php?cPath=1037_1183&products_id=806589. Reviews in The Times Literary Supplement (UK) A War of Images: Russian Popular Prints, Wartime Culture, and National Identity, 1812-1945 (DeKalb, IL: Northern Illinois University Press, 2006).
    [Show full text]
  • The Bolshoi Meets Bolshevism: Moving Bodies and Body Politics, 1917-1934
    THE BOLSHOI MEETS BOLSHEVISM: MOVING BODIES AND BODY POLITICS, 1917-1934 By Douglas M. Priest A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Doctor of Philosophy 2016 ABSTRACT THE BOLSHOI MEETS BOLSHEVISM: MOVING BODIES AND BODY POLITICS, 1917- 1934 By Douglas M. Priest Following the Russian Revolution in 1917, the historically aristocratic Bolshoi Ballet came face to face with Bolshevik politics for the first time. Examining the collision of this institution and its art with socialist politics through the analysis of archival documents, published material, and ballets themselves, this dissertation explains ballet’s persisting allure and cultural power in the early Soviet Union. The resulting negotiation of aesthetic and political values that played out in a discourse of and about bodies on the Bolshoi Theater’s stage and inside the studios of the Bolshoi’s Ballet School reveals Bolshevik uncertainty about the role of high culture in their new society and helped to define the contentious relationship between old and new in the 1920s. Furthermore, the most hostile attack on ballet coming from socialists, anti- formalism, paradoxically provided a rhetorical shield for classical ballet by silencing formalist critiques. Thus, the collision resulted not in one side “winning,” but rather in a contested environment in which dancers embodied both tradition and revolution. Finally, the persistence of classical ballet in the 1920s, particularly at the Ballet School, allowed for the Bolshoi Ballet’s eventual ascendancy to world-renowned ballet company following the second World War. This work illuminates the Bolshoi Ballet’s artistic work from 1917 to 1934, its place and importance in the context of early Soviet culture, and the art form’s cultural power in the Soviet Union.
    [Show full text]
  • Filming the End of the Holocaust War, Culture and Society
    Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J.
    [Show full text]
  • The Russian Cinematic Culture
    Russian Culture Center for Democratic Culture 2012 The Russian Cinematic Culture Oksana Bulgakova Follow this and additional works at: https://digitalscholarship.unlv.edu/russian_culture Part of the Film and Media Studies Commons, Other Languages, Societies, and Cultures Commons, and the Slavic Languages and Societies Commons Repository Citation Bulgakova, O. (2012). The Russian Cinematic Culture. In Dmitri N. Shalin, 1-37. Available at: https://digitalscholarship.unlv.edu/russian_culture/22 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Russian Culture by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. The Russian Cinematic Culture Oksana Bulgakova The cinema has always been subject to keen scrutiny by Russia's rulers. As early as the beginning of this century Russia's last czar, Nikolai Romanov, attempted to nationalize this new and, in his view, threatening medium: "I have always insisted that these cinema-booths are dangerous institutions. Any number of bandits could commit God knows what crimes there, yet they say the people go in droves to watch all kinds of rubbish; I don't know what to do about these places." [1] The plan for a government monopoly over cinema, which would ensure control of production and consumption and thereby protect the Russian people from moral ruin, was passed along to the Duma not long before the February revolution of 1917.
    [Show full text]
  • German Defeat/Red Victory: Change and Continuity in Western and Russian Accounts of June-December 1941
    University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2018 German Defeat/Red Victory: Change and Continuity in Western and Russian Accounts of June-December 1941 David Sutton University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Sutton, David, German Defeat/Red Victory: Change and Continuity in Western and Russian Accounts of June-December 1941, Doctor of Philosophy thesis, School of Humanities and Social Inquiry, University of Wollongong, 2018.
    [Show full text]
  • Quick View 9.69 Mbyte
    2 FROM THE FIRST PERSON 2017 - YEAR OF ACHIEVEMENTS AND INTERNATIONAL COOPERATION DEVELOPMENT ALEXANDER SLAVINSKY The open workshop, which our company the large scale of the operation of our company in showed interest of our partners in high-voltage bush- Chairman of the Board of Directors, held in India, was dedicated to experience India. ings with RIP insulation that we have been promoting Izolyator, Russia’s Representative sharing between state power grid companies and The full-scale work, done by Izolyator in China, in the European market. in CIGRE SC D1, Vice-President of TRAVEK between Indian and Russian high-voltage equip- also opens new prospects for further mutually ben- In 2017, we carried on to strengthen our International Association, Russia’s expert ment manufacturers. It once again demonstrated eficial cooperation and integrative development be- longstanding relations with reliable part- in IEC (Permanent Committee 36A), Head of SC D1 RNC CIGRE 2017 has become a year of achieve- ments and international cooperation development. We have found reliable partners in European and Asian coun- tries, made a contribution to strength- ening of relations between the national power systems of Russia, Vietnam and India. International cooperation has always been an important part of our work and a natural challenge for Izolyator’s development. We appreciate every opportunity to demonstrate reliability and techni- cal efficiency of our products by putting them to a most difficult check - the test of time. We are interested to set up exactly the same sort of part- nerships — long-term and efficient, opening new regions of our presence.
    [Show full text]