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 provides a framework for understanding the larger political and cultural implications of documentary and nonfiction film.
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 provides a framework for understanding the larger political and cultural implications of documentary and nonfiction film.
Joshua Malitsky is Associate Professor in the Department of Communication and Culture at Indiana University Bloomington.
Inhaltsangabe
Acknowledgments 1. Introduction: Revolutionary Rupture and National Stability Part 1 2. Kino-Nedelia, Early Documentary, and the Performance of a New Collective, 1917-1921 3. A Cinema Looking For People: The Individual and the Collective in Immediate Post-Revolutionary Cuban Nonfiction Film Part 2 4. The Dialectics of Thought and Vision in the Films of Dziga Vertov, 1922-1927 5. (Non)Alignments and the New Revolutionary Man Part 3 6. Esfir Shub, Factography, and the New Documentary Historiography 7. The Object of Revolutionary History: Santiago Álvarez' Commemorative Newsreels and Chronicle Documentaries, 1972-1974 Notes Filmography Bibliography Index
Acknowledgments 1. Introduction: Revolutionary Rupture and National Stability Part 1 2. Kino-Nedelia, Early Documentary, and the Performance of a New Collective, 1917-1921 3. A Cinema Looking For People: The Individual and the Collective in Immediate Post-Revolutionary Cuban Nonfiction Film Part 2 4. The Dialectics of Thought and Vision in the Films of Dziga Vertov, 1922-1927 5. (Non)Alignments and the New Revolutionary Man Part 3 6. Esfir Shub, Factography, and the New Documentary Historiography 7. The Object of Revolutionary History: Santiago Álvarez' Commemorative Newsreels and Chronicle Documentaries, 1972-1974 Notes Filmography Bibliography Index
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