Post-Revolution Nonfiction Film

Post-Revolution Nonfiction Film : Building the Soviet and Cuban Nations

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Description

In the charged atmosphere of post-revolution, artistic and political forces often join in the effort to reimagine a new national space for a liberated people. Joshua Malitsky examines nonfiction film and nation building to better understand documentary film as a tool used by the state to create powerful historical and political narratives. Drawing on newsreels and documentaries produced in the aftermath of the Russian revolution of 1917 and the Cuban revolution of 1959, Malitsky demonstrates the ability of nonfiction film to help shape the new citizen and unify, edify, and modernize society as a whole. Post-Revolution Nonfiction Film not only presents a critical historical view of the politics, rhetoric, and aesthetics shaping post-revolution Soviet and Cuban culture but also provides a framework for understanding the larger political and cultural implications of documentary and nonfiction film.show more

Product details

  • Paperback | 290 pages
  • 152.4 x 228.6 x 19.05mm | 249.47g
  • Indiana University Press
  • Bloomington, IN, United States
  • English
  • 19 b&w illus.
  • 0253007666
  • 9780253007667
  • 131,509

Review quote

A book that analyzes Soviet cinema side-by-side with Cuban film is welcome, even though the two countries are represented here in parallel. . . . Highly recommended. * Choice * [M]alitsky's book is an extremely valuable contribution to both film theory and film history and should become required reading for students of film with a focus on documentary.October 2014 * Russian Review *show more

About Joshua Malitsky

Joshua Malitsky is Associate Professor in the Department of Communication and Culture at Indiana University Bloomington.show more

Table of contents

Acknowledgments1. Introduction: Revolutionary Rupture and National StabilityPart 12. Kino-Nedelia, Early Documentary, and the Performance of a New Collective, 1917-19213. A Cinema Looking For People: The Individual and the Collective in Immediate Post-Revolutionary Cuban Nonfiction FilmPart 24. The Dialectics of Thought and Vision in the Films of Dziga Vertov, 1922-19275. (Non)Alignments and the New Revolutionary ManPart 36. Esfir Shub, Factography, and the New Documentary Historiography7. The Object of Revolutionary History: Santiago Alvarez' Commemorative Newsreels and Chronicle Documentaries, 1972-1974NotesFilmographyBibliographyIndexshow more