
- 264 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
About this book
What distinguished the Soviet 'look'? How did Soviet thinkers and artists reimagine the relationship between observer and observed? Soviet Spectatorship answers these questions through an in depth exploration of Soviet physical culture and its on screen representations from the end of the Civil War to the eve of the Second World War. Samuel Goff identifies the three fundamental 'structures of looking' - surveillance, aesthetics, and spectatorship - that shaped representations of the embodied Soviet subject. Close readings of understudied films such as Happy Finish (1934), The Laurels of Miss Ellen Gray (1935) and A Strict Young Man (1936), are contextualised through a theoretical analysis of the relationship between subjectivity and the body. In doing so, Goff traces the evolution of a specific Soviet 'look', examining perspectives on Soviet aesthetics and theories of body and mind, uncovering continuities within Soviet visual cultures in a period usually understood in terms of discontinuity and rupture.
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Information
Table of contents
- Cover
- Half-Title Page
- Dedication
- Series page
- Title Page
- Contents
- List of Illustrations
- Acknowledgements
- Notes on Translation
- List of Abbreviations
- Introduction Physical/Visual Culture
- Chapter 1. From Bodies to Subjects
- Chapter 2. Beautiful Bodies : The Bather
- Chapter 3. Gendered Bodies : The Runner
- Chapter 4. Violent Bodies : The Footballer
- Conclusion Utopia Incarnate
- Glossary of Russian Terms
- Notes
- Bibliography
- Index
- Copyright