Alexander Medvedkin's Books

The Alexander Medvedkin Reader

By: Alexander Medvedkin

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The Alexander Medvedkin Reader

By: Alexander Medvedkin

This is an enormously important and long-awaited project in film studies: it is collection of selected writings by the filmmaker Alexander Medvedkin, rendered into English. There is no equivalent volume in Russian or in any other language, so this is an original work. Alexander Medvedkin (1900-89) belongs in the canon of major Soviet filmmakers. He invented a form of total documentary cinema for workers in the early Soviet era that was aimed at bridging the distance between film and life, whereby the target audience of a film would be involved in its making, and then their viewing and discussion of it would become the basis for action to change their work situation and relations. He was also a major satirist at a time when the Soviet authorities feared the ambiguities of satire and tried to confine laughter to narrowly prescribed channels. Medvedkin s work remains a crucial link in the history of documentary cinema, especially in its more engaged or agitational forms. He was a true-believing, card-carrying Communist, but he was also a victim of the Soviet regime. Soviet institutions prevented him from fully achieving what he hoped to accomplish as an artist because he behaved as an individualist who sought to produce artistic projects in defiance of obstacles from the authorities.

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373

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University of Chicago Press

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ISBN 10

022629627X

ISBN 13

9780226296272

The Alexander Medvedkin Reader

By: Alexander Medvedkin

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The Alexander Medvedkin Reader

By: Alexander Medvedkin

Filmmaker Alexander Medvedkin (1900–89), a contemporary of Sergei Eisenstein and Alexander Dovzhenko, is celebrated today for his unique form of “total” documentary cinema, which aimed to bridge the distance between film and life, as well as for his use of satire during a period when the Soviet authorities preferred that laughter be confined to narrowly prescribed channels. This collection of selected writings by Medvedkin is the first of its kind and reveals how his work is a crucial link in the history of documentary film. Although he was a dedicated Communist, Medvedkin’s satirical approach and social critiques ultimately led to his suppression by the Soviet regime. State institutions held back or marginalized his work, and for many years, his films were assumed to have been lost or destroyed. These texts, many assembled for this volume by Medvedkin himself, document for the first time his considerable achievements, experiments in film and theater, and attempts to develop satire as a major Soviet film genre. Through scripts, letters, autobiographical writings, and more, we see a Medvedkin supported and admired by figures like Eisenstein, Dovzhenko, and Maxim Gorky.

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373

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University of Chicago Press

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ISBN 10

022629630X

ISBN 13

9780226296302

The Shaping of Popular Consent

A Comparative Study of the Soviet Union and the United States, 1929-1941

By: Alexander McGregor (Ph. D.)

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The Shaping of Popular Consent

A Comparative Study of the Soviet Union and the United States, 1929-1941

By: Alexander McGregor (Ph. D.)

This book questions the view of the current orthodoxy which argues that the Soviet Union and the United States were binary opposites in the 1930s. The Shaping of Popular Consent presents a comparative analysis of one specific facet of the USSR and the US, namely the manner in which their ruling elites sought to win popular consent. A key dimension in the analysis of any political order, this issue recommends itself precisely because the assumption that, in this the two were quite dissimilar, is the virtual point of departure for the current thinking. To sharpen the focus of the comparison, the book concentrates on the role of the visual arts and the manner and extent to which those in power employed them to attempt to win popular consent. Therefore, this book poses two questions. Firstly, to what extent did the ruling elites in both the USSR and the US believe they needed the people's faith/trust in the system? Secondly, different as the two societies were, to what extent might they have employed similar use of visual cultural media in their attempts to win "hearts and minds"? The study explores the interwar years, specifically 1929-1941. This was an era of great upheaval in both the USSR and the US and marks the beginning of the age of mass communication. The book examines if, how, and to what extent Soviet and American cultural producers, during the years 1929-1941, employed the visual arts, cinema in particular but also painting, the plastic arts, theatre and architecture, to promote, essentially, the establishments' rights and wrongs, heroes and villains. It does so exploring both the domestic and the international scene. It illustrates that, despite giant differences between the two countries, in the way the two establishments sought to win popular consent the binary view is simply inaccurate. Perhaps more importantly, it demonstrates the need for a plethora of wide-ranging comparative studies of the Soviet Union and the United States. Indeed, through recognizing the importance of comparing and contrasting the USSR and the US, and by attempting to do just that, we might learn to better understand how, in what ways and for what purposes these two countries, so central to our understanding of the modern world, were organized. Thus, this work is genuinely comparative, inter-disciplinary and cultural. Indeed, the study is part of a vanguard movement. It is of significant value to scholars of both the USSR, Stalinism and Soviet art and the US, the New Deal and Hollywood. Finally, building on work by Noam Chomsky, Anotonio Gramsci and others such as Benedict Anderson's book Imagined Communities, the book will be of tremendous interests to many (both students and interested parties alike) who have an interest in how identities are constructed, how propaganda is manufactured and just how the (ostensibly) divergent philosophies of modern governments are represented in popular culture.

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376

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Cambria Press

Published Date

ISBN 10

1934043591

ISBN 13

9781934043592

Alexander Sasha Sergeeff

By: Alexander Sergeeff

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Alexander Sasha Sergeeff

By: Alexander Sergeeff

Alexander “Sasha” Sergeeff è nato a Mosca, Russia, nel 1968. Ha cominciato a dipingere all'età di 5 anni. Ha frequentato Liceo Artistico di Mosca. Ha studiato e lavorato in Accademia di Belle Arti di Mosca. Dal 1993 vive e lavora a Roma. Le sue opere sono state esposte nelle numerose mostre tra Mosca, Roma, Milano, Parigi, New York ed altri città del mondo. Suo modo di lavorare rimasto rigorosamente ottocentesco: su commissione privata.

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Gangemi Editore Spa

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ISBN 10

8849277059

ISBN 13

9788849277050

Book's by Alexander Medvedkin

The Alexander Medvedkin Reader

The Alexander Medvedkin Reader

The Alexander Medvedkin Reader

The Alexander Medvedkin Reader

The Shaping of Popular Consent

The Shaping of Popular Consent

Alexander Sasha Sergeeff

Alexander Sasha Sergeeff

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