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No detailed description available for ""Soviet Cinematography 1918 - 1991"".

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9780202304618

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<p> Outstanding Title!... The Shlapentokhs proceed simply. They make a statement about the Soviet Union (or even post Soviet Union), a statement of sociology, politics, religion, or psychology (like xenophobia or crime); then they support the statement (or contradict it with exceptions) by examining a handful of movies. The result, however, is far from simple; it is a superlative, rich, advanced course in the conflict between the real Soviet world and the fictional reality created by directors attempting to obey the injunctions of the ideological apparatus. .. Oddly enough, all the good books on Soviet cinema are now 20 years old; this new book concentrates on these 20 years. The best parts concern Stalin. Whenever a movie is about Stalin, directly or indirectly, positively or negatively, the book becomes vital, dramatic, unique... [I]t is the most fascinating and up to date. <p> --P. H. Stacy, Choice <p> In Soviet Cinematography, 1918-1991, Dmitry and Vladimir Shlapentokh set a specifically sociological agenda for themselves, to examine the influence of official ideology, i.e., the ideology supported by the centralized state, on the presentation of social reality by Soviet cinema. .. The book consists of a chronological cataloging of several hundred Soviet films. <p> --Denise J. Youngblood, Slavic Review <p> Dmitry and Vladimir Shlapentokh... trace the history of Soviet cinema by noting the effects of various state-mandated ideologies on selected films. <p> --Vance Kepley, Jr., The Russian Review

Outstanding Title!... The Shlapentokhs proceed simply. They make a statement about the Soviet Union (or even post Soviet Union), a statement of sociology, politics, religion, or psychology (like xenophobia or crime); then they support the statement (or contradict it with exceptions) by examining a handful of movies. The result, however, is far from simple; it is a superlative, rich, advanced course in the conflict between the real Soviet world and the fictional reality created by directors attempting to obey the injunctions of the ideological apparatus. .. Oddly enough, all the good books on Soviet cinema are now 20 years old; this new book concentrates on these 20 years. The best parts concern Stalin. Whenever a movie is about Stalin, directly or indirectly, positively or negatively, the book becomes vital, dramatic, unique... [I]t is the most fascinating and up to date. --P. H. Stacy, Choice In Soviet Cinematography, 1918-1991, Dmitry and Vladimir Shlapentokh set a specifically sociological agenda for themselves, to examine the influence of official ideology, i.e., the ideology supported by the centralized state, on the presentation of social reality by Soviet cinema. .. The book consists of a chronological cataloging of several hundred Soviet films. --Denise J. Youngblood, Slavic Review Dmitry and Vladimir Shlapentokh... trace the history of Soviet cinema by noting the effects of various state-mandated ideologies on selected films. --Vance Kepley, Jr., The Russian Review

<p> Outstanding Title!... The Shlapentokhs proceed simply. They make a statement about the Soviet Union (or even post Soviet Union), a statement of sociology, politics, religion, or psychology (like xenophobia or crime); then they support the statement (or contradict it with exceptions) by examining a handful of movies. The result, however, is far from simple; it is a superlative, rich, advanced course in the conflict between the real Soviet world and the fictional reality created by directors attempting to obey the injunctions of the ideological apparatus. .. Oddly enough, all the good books on Soviet cinema are now 20 years old; this new book concentrates on these 20 years. The best parts concern Stalin. Whenever a movie is about Stalin, directly or indirectly, positively or negatively, the book becomes vital, dramatic, unique... [I]t is the most fascinating and up to date. <p> --P. H. Stacy, Choice

Author Information

Vladimir Shlapentokh is professor of sociology at Michigan State University. Previously he was senior fellow in the Sociological Institute in Moscow. His writings appeared in The New York Times, Los Angeles Times, and Washington Post. His most recent book is Feudal America: Elements of the Middle Ages in Contemporary Society. Dmitry Shlapentokh is associate professor of history in the College of Liberal Arts and Sciences at the University of Indiana, South Bend. Among his books are The French Revolution and the Russian Anti-Democratic Tradition: A Case of False Consciousness (available from Transaction), The French Revolution in Russian Intellectual Life, 1865-1905, Soviet Cinematography, 1918-1991 (with Vladimir Shlapentokh), and East Against West, The First Encounter: The Life of Themistocles.

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