Skip to main content

A Cinema of Suspicion or a Suspicion of Cinema: Soviet Film 1945–53

  • Chapter
Cold-War Propaganda in the 1950s
  • 186 Accesses

Abstract

The leadership of the Communist Party of the Soviet Union accepted as a truism that the cinema was a, if not the, most powerful propaganda weapon. They had also found it most difficult to utilize and dangerously subtle and complex. Thus they, and in particular Stalin, came to believe that cinema must be kept simple in content and under tight control. This suspicious approach to the medium was to be the most important factor in the development of Soviet cinema in the postwar era.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 129.00
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 169.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 169.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. Lunarcharsky’s reminiscences in G. Boltyanskii Lenin i kino (Moscow: Iskusstvo, 1925), p. 19.

    Google Scholar 

  2. Leon Trotsky, ‘Vodka, the church and the cinema’, Pravda, 12 July 1923, p. 4.

    Google Scholar 

  3. See R. Taylor and I. Christie (eds), The Film Factory (London: Routledge, 1988), p. 111.

    Google Scholar 

  4. R. Taylor, The Politics of the Soviet Cinema, 1917–1929 (Cambridge: Cambridge University Press, 1979).

    Book  Google Scholar 

  5. V. Shentalinsky, The KGB’s Literary Archive (London: Harvill, 1995), p. 52.

    Google Scholar 

  6. See J. Leyda, Kino (London: Allen & Unwin, 1983) p. 383; also

    Google Scholar 

  7. Mariamov, Kremlevskii Tsentsor (Moscow: Kinotsentr, 1992) which by the collection and recounting of personal reminiscences maps the mechanism of Stalin’s ‘court’ of cinema, pp. 80–94.

    Google Scholar 

  8. S. M. Eisenstein (trans. H. Marshall), Immoral Memories (London: Owen, 1985), p. 261.

    Google Scholar 

  9. The letter is in Bolshakov’s personal archive and was published by Leonid Kozlov in ‘The artist in the shadow of Ivan’, in R. Taylor and D. Spring (eds), Stalinism and Soviet Cinema (London: Routledge, 1993).

    Google Scholar 

  10. E. Radzinsky, Stalin (London: Hodder & Stoughton, 1996), p. 505.

    Google Scholar 

  11. Editorial trans. P. Kenez, Cinema and Soviet Society (Cambridge: Cambridge University Press, 1992), p. 219.

    Google Scholar 

  12. G. V. Alexandrov, Epokha i kino (Moscow: Iskusstvo, 1983), pp. 297–8.

    Google Scholar 

  13. S. V. Drobashenko, Istoriya sovetskogo dokumental’nogo kino (Moscow: MGU, 1980), p. 62.

    Google Scholar 

Download references

Authors

Editor information

Editors and Affiliations

Copyright information

© 1999 Palgrave Macmillan, a division of Macmillan Publishers Limited

About this chapter

Cite this chapter

Roberts, G. (1999). A Cinema of Suspicion or a Suspicion of Cinema: Soviet Film 1945–53. In: Rawnsley, G.D. (eds) Cold-War Propaganda in the 1950s. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-27082-8_7

Download citation

Publish with us

Policies and ethics