The Voice of Technology
210 pages
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210 pages
English

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Description

As cinema industries around the globe adjusted to the introduction of synch-sound technology, the Soviet Union was also shifting culturally, politically, and ideologically from the heterogeneous film industry of the 1920s to the centralized industry of the 1930s, and from the avant-garde to Socialist Realism. In The Voice of Technology: Soviet Cinema's Transition to Sound, 1928–1935, Lilya Kaganovsky explores the history, practice, technology, ideology, aesthetics, and politics of the transition to sound within the context of larger issues in Soviet media history. Industrialization and centralization of the cinema industry greatly altered the way movies in the Soviet Union were made, while the introduction of sound radically altered the way these movies were received. Kaganovsky argues that the coming of sound changed the Soviet cinema industry by making audible, for the first time, the voice of State power, directly addressing the Soviet viewer. By exploring numerous examples of films from this transitional period, Kaganovsky demonstrates the importance of the new technology of sound in producing and imposing the "Soviet Voice." 


Acknowledgments
Note on Transliteration
Prologue
Introduction: The Long Transition: Soviet Cinema and the Coming of Sound
1. The Voice of Technology and the End of Soviet Silent Film: Grigori Kozintsev and Leonid Trauberg's Alone
2. The Materiality of Sound: Dziga Vertov's Enthusiasm and Esfir Shub's K.Sh.E.
3. The Homogeneous Thinking Subject, or Soviet Cinema Learns to Sing: Igor Savchenko's TheAccordion
4. Multilingualism and Heteroglossia in Aleksandr Dovzhenko's Ivan and Aerograd
5. "Les Silences de la voix": Dziga Vertov's Three Songs of Lenin
Conclusion: Socialist Realist Sound
Works Cited
Index

Sujets

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Publié par
Date de parution 13 février 2018
Nombre de lectures 0
EAN13 9780253033000
Langue English
Poids de l'ouvrage 3 Mo

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THE VOICE OF TECHNOLOGY
THE VOICE OF TECHNOLOGY
Soviet Cinema s Transition to Sound 1928-1935
Lilya Kaganovsky
INDIANA UNIVERSITY PRESS
This book is a publication of
Indiana University Press
Office of Scholarly Publishing
Herman B Wells Library 350
1320 East 10th Street
Bloomington, Indiana 47405 USA
iupress.indiana.edu
2018 by Lilya Kaganovsky
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America
Cataloging information is available from the Library of Congress.
ISBN 978-0-253-03264-5 (cloth)
ISBN 978-0-253-03265-2 (paperback)
ISBN 978-0-253-03266-9 (ebook)
1 2 3 4 5 23 22 21 20 19 18
For AWR, RAR, . . , . . ., . . .
CONTENTS
Acknowledgments
Note on Translation and Transliteration
Prologue
Introduction: The Long Transition: Soviet Cinema and the Coming of Sound
one
The Voice of Technology and the End of Soviet Silent Film: Grigori Kozintsev and Leonid Trauberg s Alone
two
The Materiality of Sound: Dziga Vertov s Enthusiasm and Esfir Shub s K.Sh.E.
three
The Homogeneous Thinking Subject, or Soviet Cinema Learns to Sing: Igor Savchenko s The Accordion
four
Multilingualism and Heteroglossia in Aleksandr Dovzhenko s Ivan and Aerograd
five
Les Silences de la voix : Dziga Vertov s Three Songs of Lenin
Conclusion: Socialist Realist Sound
Works Cited
Index
ACKNOWLEDGMENTS
LIKE MANY BOOKS BEFORE IT , this one grew out of conversations with friends. Elena Mikhailovna Stishova brought Kozintsev and Trauberg s remarkable 1931 film Odna to William Mary (with the help of Tony Anemone and the WGCTV), and that screening and the discussion that followed served as the impetus for this project. It was Yasemin Yildiz who first pointed out to me that I was already working on sound and, together with Michael Rothberg and, of course, Rob Rushing, over many meals shared together, helped me to articulate the stakes of this project. At one memorable ASEEES, over a drink, Masha Salazkina proposed that we edit a much needed collection on sound, music, and speech in Soviet cinema, and that collaboration, and the fantastic contributions of scholars from a wide range of academic fields-many of whom are cited in the pages that follow-deepened and informed my own work. And it was Michael Finke who noticed the plaque to Joseph Tykociner on the Illinois campus, connecting the history of the university and the invention of sound-on-film technology to the research I had undertaken.
Even more vitally, working on this book brought me in contact with scholars all over the world, many of whom became close friends. I cannot overstate the pleasure of lunchtime conversations with Emma Widdis, Susan Larsen, Joan Neuberger, Nancy Condee, and Julian Graffy, who listened, read, and always responded with great kindness and intellectual rigor, as I worked out the parameters of this work. In Moscow and Cambridge, at NIIK, VGIK, Gosfilmofond, and elsewhere, Nikolai Izvolov, Sergei Kapterev, Evgeny Margolit, and Peter Bagrov have been the best company and invaluable sources of knowledge of all things Soviet cinema, and without whom, this project would have been greatly diminished. Moscow and the UK were the two epicenters for research and writing on this book, and I am so grateful for the opportunities I had to live and work in Cambridge and Oxford, and for my many interactions with terrific colleagues in Slavonic studies at Cambridge-Rory Finnin, Jana Howlett, Rebecca Reich, and Alyson Tapp; at Oxford-Polly Jones, Catriona Kelly, Dan Healey, and Andrei Zorin; and across England-Birgit Beumers (first and foremost), Sanja Bahun, Phil Cavendish, Connor Doak, Evgeny Dobrenko, Alexander Etkind, John Haynes, Jeremy Hicks, Stephen Lovell, Rachel Morley, Kristin Roth-Ey, Vlad Strukov, and the members of the UCL SSEES Russian Cinema Research Group.
Beyond the UK, my thanks go to Oksana Bulgakowa, Natascha Drubek, Sabine H nsgen, Val rie Pozner, Dmitri Zakharine, and Eug nie Zvonkine, scholars and friends whose excellent work on cinema I return to over and over again. Of all the filmmakers I have worked on, Dziga Vertov proved to be the most difficult, the most contradictory and elusive, and I am deeply grateful to John MacKay for sharing his vast knowledge of all things Vertov, as well as to Robert Bird, Molly Brunson, Christina Kiaer, Michael Kunichika, Angelina Lucento, Joshua Malitsky, Anne Eakin Moss, Elizabeth Papazian, Gabriella Saffran, Libby Saxton, Nariman Skakov, and Yuri Tsivian, who, both through their scholarship and through dialogue, helped me to think through what Vertov might have been up to in the thirties.
And finally, I owe a great debt to my fantastic colleagues at Illinois, who have read, in whole or in parts, the many drafts of this book. In particular, I want to thank my wonderful colleagues in both departments, whose encouragement and support have been invaluable for making the University of Illinois a great place to work. The argument of this book was honed through many gatherings of the Russian kruzhok , over a glass of wine. I am particularly indebted to Harriet Murav, Valeria Sobol, David Cooper, Kristin Romberg, Mark Steinberg, Diane Koenker, and John Randolph, as well as the graduate students from Slavic, Comparative Literature, and History, for their enthusiasm and their questions, which helped me clarify my claims. Similarly, I am very grateful to Terry Weisman and colleagues in Art + Design, and to Julie Turnock and colleagues in Media Cinema Studies, for their provocative and engaged responses to my work, as it took its final shape. But it is really to the members of my writing group, in its most stable iteration, that I owe the greatest intellectual debt: Justine Murison, Jennifer Greenhill, and Irene Small read, critiqued, questioned, and encouraged this project through sustained intellectual exchange (and the occasional dance party), and, through the example of their own excellent work, made it possible for me to complete mine.
Institutionally, this project was generously supported by the Illinois Center for Advanced Study, the Research Board, the Russian, East European Eurasian Center, the Unit for Criticism Interpretive Theory, and by the College of Liberal Arts Sciences Centennial Fellowship. Beyond Illinois, it was made possible by visiting fellowships at Trinity College (Cambridge) and University College (Oxford), and by the American Council of Learned Societies, together with the Social Science Research Council and the National Endowment for the Humanities. I am deeply grateful to these institutions for providing fellowships, release time, travel and research support for this project. Their generosity also provided funding to hire graduate assistants, whom I am very happy to be able to thank here: Alexandra Van Doren, Tatiana Efremova, Marina Filipovic, Anya Hamrick, Meagan Smith, and Oleksandra Wallo.
This book found a good home at Indiana University Press, and I am thankful to Raina Polivka for her initial interest in this project, and to Janice Frisch for seeing it through to its completion. I owe a great debt to Joshua Malitsky and the second anonymous IUP reader for providing incisive comments and suggestions for revisions, which I was happy to follow.
Intellectually and emotionally, this book would never have been completed without the love and friendship of the following people: Yasemin Yildiz, Michael Rothberg, Brett Kaplan, Justine Murison, Ericka Beckman, Dara Goldman, Nancy Castro, Gillen Wood, Manuel Rota, Nora Stoppino, Jim Hansen, Ren e Trilling, Maggie Flinn, Patrick Bray, Valeria Sobol, David Cooper, Anna Stenport, Julie Turnock, Kristen Romberg, Amy Powel, Andrea Stevens, Ellen Solis, Gabriel Solis, Andrea Goulet, Jed Esty, Zachary Lesser, Polina Barskova, Masha Salazkina, Anna Nisnevich, Luba Goldburt, Michael Kunichika, Konstantine Klioutchkine, Serguei Oushakine, Evgeny Bershtein, Boris Wolfson, Tony Anemone, Eric Naiman, Anne Nesbet, Frances Bernstein, Eliot Borenstein, Emma Widdis, Susan Larsen, Joan Neuberger, Eug nie Zvonkine, Carola H hnel, Philippe Mesnard, Maria Pilar Blanco, and David James. This book is dedicated to the memory of Catharine Theimer Nepomnyashchy, mentor and friend.
Most vitally, my life would be infinitely poorer without my family and the love that I have for them: more than anything, this book is for Rob, Sasha, Tolya, Natasha, and Lyalya.
Earlier versions of Chapters 1 and 3 were published in Studies in Russian and Soviet Cinema (volumes 1.3 and 6.3, respectively). Material from Chapter 2 originally appeared in German translation as Elektrische Sprache: Dsiga Wertow und die Tontechnologie / Electric Speech: Dziga Vertov and the Technologies of Sound, in Resonanz-R ume: die Stimme und die Medien , edited by Oksana Bulgakowa; and in Russian translation as : / The Materiality of Sound: Esfir Shub s Haptic Cinema, in Novoe Literaturnoe Obozrenie , vol. 120. An early version of the Introduction was published as Learning to Speak Soviet: Soviet Cinema and the Coming of Sound, in A Companion to Russian Cinema , edited by Birgit Beumers. I am grateful to the editors and the journals for their permission to republish this earlier work here.
NOTE ON TRANSLATION AND TRANSLITERATION
THE TRANSLITERATION SYSTEM I USE in this boo

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