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

Acknowledgments

acknowledgments this volume came about as a result of our mutual frustration with the lack of english-language materials on sound in Soviet and post-Soviet cinema. in it, we have tried to bring together new work by scholars from several disciplines, providing a larger historical framework for the discussion of the “sonic turn” in Soviet film studies, as well as close readings of individual films that pay particular attention to the way sound, speech, and music operate in Soviet and postSoviet cinema. We are grateful to indiana university press and in particular to our editor Raina polivka, for her enthusiasm, advice, and support of this project. We also owe many thanks to the commitment and patience of our contributors to this project as the volume has gone through its various incarnations, as well as to the support and interest of several fellow-travelers and interlocutors, in particular polina Barskova, Birgit Beumers, vincent Bohlinger, andrew chapman, Katerina clark, nancy condee, Julian Graffy, naum Kleiman, vera Kropf, Susan Larsen, John MacKay, Joshua Malitsky, Simon Morrison, Sergei oushakine, amy Sargeant, and Mark Slobin, as well as to our two external reviewers, whose attentive appraisals helped shape this book. Likewise, we owe many thanks to our translators andrée Lafontaine, Sergei Levchin, and Katrina Sark, and our team of editorial assistants for their work on this collection. We are particularly grateful to dru Jeffries, whose meticulous readings helped bring this volume to completion. Sound, Speech, Music in Soviet and Post-Soviet Cinema received generous support at both of our home institutions, as well as from national organizations, and of course, from family and friends. Lilya Kaganovsky would like to thank the university of illinois’s Research Board; the federally funded Russian, east european, and eurasian center; the department of Slavic Languages and Literatures; and the program in comparative and World Literature for providing research assistance, conference travel, and research travel support; and the american council of Learned Societies, together with the national endowment for the arts and Social Science Research council, for fellowship support that provided leave time for this project. She is particularly grateful to her friends and colleagues at illinois, cambridge, and beyond; and most importantly to R.R., S.R., Н.К., А.К., and О.П. Masha Salazkina would like to thank concordia university’s aid to Research Related events, exhibition, publication, and dissemination activities and the Faculty of Fine arts for providing research and translation funds for this viii | Acknowledgments project, as well as her colleagues at the Mel hoppenheim School of cinema for their advice and support. Without igor Salazkin’s tireless search for books and Luca caminati’s unfaltering patience and unconditional support, none of this would have been possible. * * * two of the chapters in the present volume were originally published in Russian in the excellent collection Sovetskaia vlast’ i media (Soviet power and the Media, 2006), edited by hans Günther and Sabine hänsgen. We are grateful to the editors, Günther and hänsgen, and to the authors, nikolai izvolov and evgeny Margolit, for their permission to translate their work here. While the volume itself is out of print, an electronic version of the text is available at http://pub.uni-bielefeld.de/publication/23050177. ...