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Full Description
Certain aspects of American popular culture had a formative influence on early Soviet identity and aspirations. Traditionally, Soviet Russia and the United States between the 1920s and the 1940s are regarded as polar opposites on nearly every front. Yet American films and translated adventure fiction were warmly received in 1920s Russia and partly shaped ideals of the New Soviet Person into the 1940s. Cinema was crucial in propagating this new social hero. While open admiration of American film stars and heroes of literary fiction in the Soviet press was restricted from the late 1920s onwards, many positive heroes of Soviet Socialist Realist films in the 1930s and 1940s were partially a product of Soviet Americanism of the previous decade. Some of the new Soviet heroes in films of the 1930s and 1940s possessed traits noticeably evocative of the previously popular American film stars such as Douglas Fairbanks, Pearl White and Mary Pickford. Others cinematically represented the contemporary trope of the 'Russian American,' an ideal worker exemplifying the Stalinist marriage of 'Russian revolutionary sweep' with 'American efficiency.
'Russian Americans' in Soviet Film analyses the content, reception and underlying influences of over 60 Soviet and American films, the book explores new territory in Soviet cinema and Soviet-American cultural relations. It presents groundbreaking archival research encompassing Soviet audience surveys, Soviet film journals and reviews, memoirs and articles by Soviet filmmakers, and scripts, among other sources. The book reveals that values of optimism, technological skill, efficiency and self-reliance - perceived as quintessentially American - were incorporated into new Soviet ideals through channels of cross-cultural dissemination, resulting in cultural synthesis.
Contents
Introduction
I. Sources and Models
II. American Cinema as the Source of the 'Russian American' New Soviet Man Model
III. The 'Crucified' and the 'Glorified' New Man
IV. Contribution to the Field
V. Methodology
Chapter 1. Popularity of American Films and Stars in Soviet Russia in the 1920s
I. Before and After 1917: 'Daredevil' Pearl White through Russian Eyes
II. After 1922: Soviet Reception of American Films
III. Avant-garde Filmmakers' Response to American Cinema
IV. Douglas Fairbanks as the Prototype of the Positive Hero of Socialist Realist Cinema
Chapter 2. Americans and 'Russian Americans' on the Screen in the 1920s: Cinematic and Literary Connections
I. 'Red Pinkertons': The Effects of the American Adventure Genre on Portrayals of the New
Soviet Man
II. 'Russian American' New Soviet Man in 'Novyi Byt' Films of the Late 1920s
III. Representations of Americans in Soviet Films with Contemporary Themes
IV. Representations of Americans in Soviet Film Adaptations of American Literature
Chapter 3. New Soviet Woman in the Cinema of the 1920s
I. Reality and Transformation of a Soviet Woman
II. American Models of New Femininity in Early Soviet Films
III. From the 1920s to the 1930s: the Shift in Policy and Representation
Chapter 4. 'Americanized' New Soviet Woman on the Screen in the 1930s and early 1940s
I. From Multiple Models of Femininity in the 1920s to the Unified Model of the 1930s
II. Liubov' Orlova: Pickfordian Femininity and the 'Russian American' Ideal
III. The New Soviet Woman in The Shining Path (1940)
IV. Ianina Zheimo: Another Soviet Pickford?
Chapter 5. 'Americanized' New Soviet Man in Films of the 1930s and early 1940s
I. The New Optimism
II. Fitness and Fame: Sportsmen Heroes
III. Mastery over Technology: Engineers-Inventors
IV. Efficiency and Rationalization of Labour
V. Trailblazers in the Skies: The Cult of the Aviator Hero
Conclusion
I. American Film Actor: The 'Brick and Cement' for Constructing Soviet Cinema
II. 'Americanization of Personality'
III. 1930s: Human Beings of a Superior Kind
IV. 'Americanness' at the Root of 'Sovietness'?
Appendix
Filmography
Bibliography
