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Lilya Kaganovsky is Associate Professor of Slavic, Comparative Literature, and Media and Cinema Studies at the University of Illinois, Urbana-Champaign. She is author of
How the Soviet Man Was Unmade.
Masha Salazkina is Research Chair in Transnational Media Arts and Culture at Concordia University, Montreal. She is author of
In Excess: Sergei Eisenstein¿s Mexico and has published in
Cinema Journal,
Screen,
October, and
KinoKultura.
List of contents
Acknowledgements
Note on Transliteration
List of Abbreviations
Introduction / Masha Salazkina
Part I: From Silence to Sound
1. From the History of Graphic Sound in the USSR or Media without a Medium / Nikolai Izvolov
2. Silents, Sound, and Modernism in Dmitry Shostakovich's Score to
The New Babylon / Joan Titus
3. To Catch up and Overtake Hollywood: Early Talking Pictures in the Soviet Union / Valerie Pozner
4. ARRK and the Soviet Transition to Sound / Natalia Ryabchikova
5. Making Sense without Speech: The Use of Silence in Early Soviet Sound Film / Emma Widdis
Part II: Speech and Voice
6. The Problem of Heteroglossia in Early Soviet Sound Cinema (1930-1935) / Evgeny Margolit
7. Challenging the Voice-of-God in World War II Era Soviet Documentaries / Jeremy Hicks
8. Vocal Changes: Marlon Brando, Innokenti Smoktunovsky, and The Sound of The 1950s / Oksana Bulgakowa
9. Listening to the Inaudible Foreign: Simultaneous Translators and Soviet Experience of Foreign Cinema / Elena Razlogova
Part III: Music in Film, or the Soundtrack
10.
Kinomuzyka: Theorizing Soviet Film Music in the 1930s / Kevin Bartig
11. Ear of the Beholder: Listening in
Muzykal'naia istoriia (1940) / Anna Nisnevich
12. The Music of Landscape: Eisenstein, Prokofiev and the Uses of Music in
Ivan The Terrible / Joan Neuberger
13. The Full Illusion of Reality:
Repentance, Polystylism, and the Late Soviet Soundscape / Peter Schmelz
14. Russian Rock on Soviet Bones / Lilya Kaganovsky
Bibliography
Contributors
Index
About the author
Lilya Kaganovsky is Associate Professor of Slavic, Comparative Literature, and Media and Cinema Studies at the University of Illinois, Urbana-Champaign. She is author of
How the Soviet Man Was Unmade.
Masha Salazkina is Research Chair in Transnational Media Arts and Culture at Concordia University, Montreal. She is author of
In Excess: Sergei Eisenstein's Mexico and has published in
Cinema Journal,
Screen,
October, and
KinoKultura.
Summary
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.
