Hostname: page-component-cd9895bd7-gvvz8 Total loading time: 0 Render date: 2024-12-26T00:59:24.881Z Has data issue: false hasContentIssue false
  • English
  • Français

The Voice of Technology: Soviet Cinema's Transition to Sound 1928–1935. By Lilya Kaganovsky. Bloomington: Indiana University Press, 2018. xxii, 272 pp. Notes. Bibliography. Index. Illustrations. Photographs. $36.00, paper.

Published online by Cambridge University Press:  02 August 2019

Ian Christie
Ian Christie*
Affiliation:
Birkbeck College, University of London
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Featured Reviews
Information
Slavic Review , Volume 78 , Issue 2 , Summer 2019 , pp. 522 - 525
Copyright
Copyright © Association for Slavic, East European, and Eurasian Studies 2019 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1. Kaganovsky cites Stalin’s Pravda article, “A Year of Great Change: On the Occasion of the Twelfth Anniversary of the October Revolution,” Pravda, No. 259, November 7, 1929, 5Google Scholar.

2. “Sergei Eisenstein and Grigori Alexandrov: A Experiment Intelligible to the Millions,” in Richard Taylor and Ian Christie, eds., The Film Factory: Russian and Soviet Cinema in Documents 1896–1939, 257.

3. In a letter to Leon Moussinac dated June 4, 1929, he wrote: “it is my obsession to add sound to Old and New. Have to do that abroad.” See Leyda, Jay and Voynow, Zina, Eisenstein at Work (New York, 1982)Google Scholar, 38. See also my discussion of this abortive plan in the introduction to Christie, Ian and Taylor, Richard, Eisenstein Rediscovered (London, 1993), 11Google Scholar.

4. Leyda and Voynow, Eisenstein at Work, 39–40.

5. A rare exception is Phil Cavendish’s study of Soviet cinematography, The Men with the Movie Camera: the Poetics of Visual Style in Soviet Avant-Garde Cinema of the 1920s (Oxford: Berghan, 2013)Google Scholar