{"product_id":"sound-speech-music-in-soviet-and-post-soviet-cinema-hardback-9780253010957","title":"Sound, Speech, Music in Soviet and Post-Soviet Cinema (Hardback) 9780253010957","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eSound, Speech, Music in Soviet and Post-Soviet Cinema\u003c\/font\u003e\u003cbr\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003c\/p\u003e\n\u003cp\u003e\u003cfont size=\"4\"\u003eLilya Kaganovsky (Edited by), Kevin Bartig (Contributions by), Oksana Bulgakowa (Contributions by), Jeremy Hicks (Contributions by), Nikolai Izvolov (Contributions by), Lilya Kaganovsky (Contributions by), Evgeny Margolit (Contributions by), Joan Neuberger (Contributions by), Anna Nisnevich (Contributions by), Valérie Pozner (Contributions by), Elena Razlogova (Contributions by), Natalia Ryabchikova (Contributions by), Peter Schmelz (Contributions by)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9780253010957\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eHardback, published 7 March 2014\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e352 pages, 24 b\u0026amp;w illus.\u003cbr\u003e22.9 x 15.2 x 1.5 cm, 0.59 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\"Featuring essays from both established and emerging scholars, the volume will be of great use across disciplines in film studies, musicology, Russian studies, history, and cultural studies. It will be especially valuable for Soviet film scholars interested in the Stalinist period.\"—\u003ci\u003eChoice\u003c\/i\u003e\u003cbr\u003e \"The stellar and insightful scholarship of . . . virtually every essay . . . thus makes good on Salazkina's introductory call for more 'exploration[s]s of the relationship between technology and the aesthetics of production, reception, and consumption of film' in regard to Soviet and post-Soviet sound, while also laying the foundation for even more exhaustive future work.\"—\u003ci\u003eCineaste\u003c\/i\u003e\u003cbr\u003e \"Sound, Speech, Music augurs exciting avenues of inquiry in film and media studies. The volume's multidisciplinary perspectives, often woven with rich cultural analysis, contribute to a larger discourse in the humanities and social sciences. In coeditor Salazkina's words, 'The contributions here are meant to provoke a conversation that may change the way we look at the history of our modernity'. . . . Undoubtedly, they will.\"—\u003ci\u003eFilm Quarterly\u003c\/i\u003e\u003cbr\u003e \"The essays here on sound and speech may . . . be considered pioneering, while the essays on music are a welcome addition to a small body of scholarship. Taken together, these pieces open a range of possibilities for future research.\"—\u003ci\u003eSlavic Review\u003c\/i\u003e\u003cbr\u003e \"Sound, Speech, Music in Soviet and Post-Soviet Cinema is an important book. It contains rich case studies, important theoretical insights, and an admirable interdisciplinary and international focus. Most important, it . . . should serve as a foundational text in the field of Russian\/Soviet sound studies.\"—\u003ci\u003eKritika\u003c\/i\u003e\u003cbr\u003e \"A fascinating study that will make a significant contribution to multiple disciplines.\"—Nora Alter, author of Projecting History: German Non-Fiction Film 1967-2000\u003cbr\u003e \"An invaluable account of sound as a core cinematic modality. With contributions by leading scholars from six countries, this volume marks a new 'sonic turn' in both Slavic and cinema studies and will be a standard reference in sound studies.\"—Nancy Condee, author of The Imperial Trace: Recent Russian Cinema\u003c\/p\u003e\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eThis innovative volume challenges the ways we look at both cinema and cultural history by shifting the focus from the centrality of the visual and the literary toward the recognition of acoustic culture as formative of the Soviet and post-Soviet experience. Leading experts and emerging scholars from film studies, musicology, music theory, history, and cultural studies examine the importance of sound in Russian, Soviet, and post-Soviet cinema from a wide range of interdisciplinary perspectives. 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.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eAcknowledgements\u003cbr\u003e Note on Transliteration\u003cbr\u003e List of Abbreviations\u003cbr\u003e Introduction \/ Masha Salazkina\u003cbr\u003e Part I: From Silence to Sound\u003cbr\u003e 1. From the History of Graphic Sound in the USSR or Media without a Medium \/ Nikolai Izvolov\u003cbr\u003e 2. Silents, Sound, and Modernism in Dmitry Shostakovich's Score to \u003ci\u003eThe New Babylon\u003c\/i\u003e \/ Joan Titus\u003cbr\u003e 3. To Catch up and Overtake Hollywood: Early Talking Pictures in the Soviet Union \/ Valerie Pozner\u003cbr\u003e 4. ARRK and the Soviet Transition to Sound \/ Natalia Ryabchikova\u003cbr\u003e 5. Making Sense without Speech: The Use of Silence in Early Soviet Sound Film \/ Emma Widdis\u003cbr\u003e Part II: Speech and Voice\u003cbr\u003e 6. The Problem of Heteroglossia in Early Soviet Sound Cinema (1930-1935) \/ Evgeny Margolit\u003cbr\u003e 7. Challenging the Voice-of-God in World War II Era Soviet Documentaries \/ Jeremy Hicks\u003cbr\u003e 8. Vocal Changes: Marlon Brando, Innokenti Smoktunovsky, and The Sound of The 1950s \/ Oksana Bulgakowa\u003cbr\u003e 9. Listening to the Inaudible Foreign: Simultaneous Translators and Soviet Experience of Foreign Cinema \/ Elena Razlogova\u003cbr\u003e Part III: Music in Film, or the Soundtrack\u003cbr\u003e 10. \u003ci\u003eKinomuzyka\u003c\/i\u003e: Theorizing Soviet Film Music in the 1930s \/ Kevin Bartig\u003cbr\u003e 11. Ear of the Beholder: Listening in \u003ci\u003eMuzykal'naia istoriia \u003c\/i\u003e(1940) \/ Anna Nisnevich\u003cbr\u003e 12. The Music of Landscape: Eisenstein, Prokofiev and the Uses of Music in \u003ci\u003eIvan The Terrible\u003c\/i\u003e \/ Joan Neuberger\u003cbr\u003e 13. The Full Illusion of Reality: \u003ci\u003eRepentance\u003c\/i\u003e, Polystylism, and the Late Soviet Soundscape \/ Peter Schmelz\u003cbr\u003e 14. Russian Rock on Soviet Bones \/ Lilya Kaganovsky\u003cbr\u003e Bibliography\u003cbr\u003e Contributors\u003cbr\u003e Index\u003cbr\u003e \u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003c\/font\u003e","brand":"Indiana University Press","offers":[{"title":"Brand New","offer_id":52523888738584,"sku":"9780253010957","price":55.59,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/sound-speech-music-in-soviet-and-post-soviet-cinema-hardback-9780253010957","provider":"Freshly Printed Books","version":"1.0","type":"link"}