Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 17,Útgáfa 31995 |
From inside the book
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Síða 43
... . The garden is in the machine and from this garden of Eden emerges the Socialist Realist " new " man and woman . The aperture at the end of a Socialist Realist musical , and also in most kolhoz ( collective farm ) films , is Spring 1995 ...
... . The garden is in the machine and from this garden of Eden emerges the Socialist Realist " new " man and woman . The aperture at the end of a Socialist Realist musical , and also in most kolhoz ( collective farm ) films , is Spring 1995 ...
Síða 44
... kolhoz films , although the spectacle ( the " show " ) is usually a textile worker's exhibit or the construction of a dam . The idea of elevating mass art is intrinsic to Socialist Realist musicals and kolhoz films . However , the ...
... kolhoz films , although the spectacle ( the " show " ) is usually a textile worker's exhibit or the construction of a dam . The idea of elevating mass art is intrinsic to Socialist Realist musicals and kolhoz films . However , the ...
Síða 45
... kolhoz genre films . Komsomolsk ( Gerasimov , 1938 ) ends with Tamara Makarova joining the workers on a platform to watch ( via actual documentary footage “ injected ” into the film ) the launching of a ship . The mass spectacle common ...
... kolhoz genre films . Komsomolsk ( Gerasimov , 1938 ) ends with Tamara Makarova joining the workers on a platform to watch ( via actual documentary footage “ injected ” into the film ) the launching of a ship . The mass spectacle common ...
Efni
Views from the PostFutureSoviet Eastern European Cinema | 3 |
Jewish Identity in PostCommunist Hungarian Cinema | 24 |
Why Stalinist Musicals? | 38 |
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