Soviet Cinema: Politics and Persuasion Under Stalin (KINO - The Russian and Soviet Cinema)

When the Bolsheviks seized power in the Soviet Union during 1917, they were suffering from a substantial political legitimacy deficit. Uneasy political foundations meant that cinema became a key part of the strategy to protect the existence of the USSR. Based on extensive archival research, this welcome book examines the interaction between politics and the Soviet cinema industry during the period between Stalin’s rise to power and the beginning of the Great Patriotic War. It reveals that film had a central function during those years as an important means of convincing the masses that the regime was legitimate and a bearer of historical truth. Miller analyses key films, from the classic musical ‘Circus’ to the political epic “The Great Citizen”, and examines the Bolsheviks’, ultimately failed, attempts to develop a ‘cinema for the millions’. As Denise Youngblood writes, ‘this work is indispensable reading not only for specialists in Soviet film and culture, but also for anyone interested in the dynamics of cultural production in an authoritarian society’. When The Bolsheviks Seized Power In The Soviet Union During 1917, They Were Suffering From A Substantial Political Legitimacy Deficit. Uneasy Political Foundations Meant That They Were Always On The Defensive And Cinema Became A Key Part Of The Strategy To Protect The Existence Of The Ussr. This Welcome Book Shows How One Of Film's Central Functions Was As An Important Means Of Convincing The Masses That The Regime Was Legitimate And A Bearer Of Historical Truth. Based On Extensive Research In Archives And Primary Sources, The Book Examines The Interaction Between Politics And The Soviet Cinema Industry During The Period Between Stalin's Rise To Power And The Beginning Of The Great Patriotic War. This Was The Era When The Bolsheviks Were Trying To Develop A 'cinema For The Millions', Which Sought To Engage Soviet Citizens Politically By Carefully Blending Entertainment With The Communist Message. Jamie Miller Investigates How Political And Administrative Decision-making, Censorship, Thematic Planning And Purges Were Shaped By The Bolsheviks' Defensive Outlook, Which In Turn Had A Largely Negative Impact On The Production Process. He Examines The Role Of Film Unions And Societies, Compares The Development Of Two Different Studios And Looks At The Education System For Cinema Personnel. He Also Analyses Key Films Of The Period, Including The Classic Musical Circus, The Class Enemy Drama The Party Card And The Political Epic The Great Citizen.--page 4 Of Cover. Film Administration And Industry Development -- Censorship -- The Purges -- Thematic Planning -- Representation And Reach : Cinema Unions And Societies -- A Tale Of Two Studios : Mezhrabpomfilm And Mosfilm -- Film Education And Training -- Film-makers And Film-making. Jamie Miller. Includes Bibliographical References (p. [203]-210) And Index. Includes Filmography. When the Bolsheviks seized power in the Soviet Union during 1917, they were suffering from a substantial political legitimacy deficit. Uneasy political foundations meant that cinema became a key part of the strategy to protect the existence of the USSR. Based on extensive archival research, this welcome book examines the interaction between politics and the Soviet cinema industry during the period between Stalin's rise to power and the beginning of the Great Patriotic War. It reveals that film had a central function during those years as an important means of convincing the masses that the regime was legitimate and a bearer of historical truth. Miller analyzes key films, from the classic musical Circus to the political epic The Great Citizen , and examines the Bolseviks', ultimately failed, attempts to develop a "cinema for the millions." As Denise Youngblood writes, "this work is indispensable reading not only for specialists in Soviet film and culture, but also for anyone interested in the dynamics of cultural production in an authoritarian society." Contents......Page 10 List of Illustrations......Page 12 Acknowledgements......Page 14 Note on Transliteration......Page 16 Introduction......Page 18 1. Film Administration and Industry Development......Page 32 2. Censorship......Page 70 3. The Purges......Page 88 4. Thematic Planning......Page 108 5. Representation and Reach: Cinema Unions and Societies......Page 122 6. A Tale of Two Studios: Mezhrabpomfilm and Mosfilm......Page 138 7. Film Education and Training......Page 156 8. Film-Makers and Film-Making......Page 171 Conclusion......Page 196 Notes......Page 202 Bibliography......Page 220 Filmography......Page 228 Index......Page 232 Contents 10 List of Illustrations 12 Acknowledgements 14 Note on Transliteration 16 Introduction 18 1. Film Administration and Industry Development 32 2. Censorship 70 3. The Purges 88 4. Thematic Planning 108 5. Representation and Reach: Cinema Unions and Societies 122 6. A Tale of Two Studios: Mezhrabpomfilm and Mosfilm 138 7. Film Education and Training 156 8. Film-Makers and Film-Making 171 Conclusion 196 Notes 202 Bibliography 220 Filmography 228 Index 232 1848850085,9781848850088,1848850093,9781848850095 I. B. Tauris