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

Contents

contents acknowledgments vii note on transliteration ix List of abbreviations xi introduction • Masha Salazkina 1 Part I. From Silence to Sound 1 From the history of Graphic Sound in the Soviet union; or, Media without a Medium • Nikolai Izvolov 21 2 Silents, Sound, and Modernism in dmitry Shostakovich’s Score to The New Babylon • Joan Titus 38 3 to catch up and overtake hollywood: early talking pictures in the Soviet union • Valérie Pozner 60 4 aRRK and the Soviet transition to Sound • Natalie Ryabchikova 81 5 Making Sense without Speech: The use of Silence in early Soviet Sound Film • Emma Widdis 100 Part II. Speech and Voice 6 The problem of heteroglossia in early Soviet Sound cinema (1930–35) • Evgeny Margolit 119 7 challenging the voice of God in World War ii–era Soviet documentaries • Jeremy Hicks 129 8 vocal changes: Marlon Brando, innokenty Smoktunovsky, and the Sound of the 1950s • Oksana Bulgakowa 145 9 Listening to the inaudible Foreign: Simultaneous translators and Soviet experience of Foreign cinema • Elena Razlogova 162 vi | Contents Part III. Music in Film; or, The Sound Track 10 Kinomuzyka: Theorizing Soviet Film Music in the 1930s • Kevin Bartig 181 11 Listening to Muzykal’naia istoriia (1940) • Anna Nisnevich 193 12 The Music of Landscape: eisenstein, prokofiev, and the uses of Music in Ivan the Terrible • Joan Neuberger 212 13 The Full illusion of Reality: Repentance, polystylism, and the Late Soviet Soundscape • Peter Schmelz 230 14 Russian Rock on Soviet Bones • Lilya Kaganovsky 252 Bibliography 273 contributors 291 index 295 ...