In this Book

Sound, Speech, Music in Soviet and Post-Soviet Cinema
summary

This innovative volume challenges the ways we look at both cinema and cultural history by shifting the focus from the centrality of the visual and the literary toward the recognition of acoustic culture as formative of the Soviet and post-Soviet experience. Leading experts and emerging scholars from film studies, musicology, music theory, history, and cultural studies examine the importance of sound in Russian, Soviet, and post-Soviet cinema from a wide range of interdisciplinary perspectives. Addressing the little-known theoretical and artistic experimentation with sound in Soviet cinema, changing practices of voice delivery and translation, and issues of aesthetic ideology and music theory, this book explores the cultural and historical factors that influenced the use of voice, music, and sound on Soviet and post-Soviet screens.

Table of Contents

  1. Cover
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  1. Title Page, Copyright Page
  2. pp. i-iv
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  1. Contents
  2. pp. v-vi
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  1. Acknowledgments
  2. pp. vii-viii
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  1. Note on Transliteration
  2. pp. ix-x
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  1. List of Abbreviations
  2. pp. xi-xiv
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  1. Introduction
  2. Masha Salazkina
  3. pp. 1-18
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  1. Part I. From Silence to Sound
  2. pp. 19-20
  1. 1. From the History of Graphic Sound in the Soviet Union; or, Media without a Medium
  2. Nikolai Izvolov
  3. pp. 21-37
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  1. 2. Silents, Sound, and Modernism in Dmitry Shostakovich’s Score to The New Babylon
  2. Joan Titus
  3. pp. 3-59
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  1. 3. To Catch Up and Overtake Hollywood: Early Talking Pictures in the Soviet Union
  2. Valérie Pozner
  3. pp. 60-80
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  1. 4. ARRK and the Soviet Transition to Sound
  2. Natalie Ryabchikova
  3. pp. 81-99
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  1. 5. Making Sense without Speech: The Use of Silence in Early Soviet Sound Film
  2. Emma Widdis
  3. pp. 100-116
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  1. Part II. Speech and Voice
  2. pp. 117-118
  1. 6: The Problem of Heteroglossia in Early Soviet Sound Cinema (1930–35)
  2. Evgeny Margolit
  3. pp. 119-128
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  1. 7: Challenging the Voice of God in World War II–Era Soviet Documentaries
  2. Jeremy Hicks
  3. pp. 129-144
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  1. 8: Vocal Changes: Marlon Brando, Innokenty Smoktunovsky, and the Sound of the 1950s
  2. Oksana Bulgakowa
  3. pp. 145-161
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  1. 9: Listening to the Inaudible Foreign: Simultaneous Translators and Soviet Experience of Foreign Cinema
  2. Elena Razlogova
  3. pp. 162-178
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  1. Part III. Music in Film; or, The Sound Track
  2. pp. 179-180
  1. 10: Kinomuzyka: Theorizing Soviet Film Music in the 1930s
  2. Kevin Bartig
  3. pp. 181-192
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  1. 11: Listening to Muzykal’naia istoriia (1940)
  2. Anna Nisnevich
  3. pp. 193-211
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  1. 12: The Music of Landscape: Eisenstein, Prokofiev, and the Uses of Music in Ivan the Terrible
  2. Joan Neuberger
  3. pp. 212-229
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  1. 13: The Full Illusion of Reality: Repentance, Polystylism, and the Late Soviet Soundscape
  2. Peter Schmelz
  3. pp. 230-251
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  1. 14: Russian Rock on Soviet Bones
  2. Lilya Kaganovsky
  3. pp. 252-272
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  1. Bibliography
  2. pp. 273-290
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  1. Contributors
  2. pp. 291-294
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  1. Index
  2. pp. 295-299
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