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- W4236330897 abstract "In the wake of the cultural revolution (1928–32), the medium long held to be uniquely attuned to the feelings of the masses became Soviet power’s key ally in building the emotional landscape of a new historical epoch. The development of Soviet cinema’s repertoire of genres became vital to this task of emotional education. The belief that film genres gave form to the ‘psycho-ideology’ of a specific historical period pushed the Soviet film industry towards the creation of genres that could articulate the unique emotional values of the Stalin era. Soviet cinema’s ambitions in the sphere of emotional education are explored in this Introduction with reference to debates over Soviet laughter, whilst the limitations of this project are highlighted in sections on the critical disputes over Sergei Gerasimov’s 1948 film <italic>The Young Guard</italic>. The Introduction concludes by using the case of Stalinist emotional management to explore the questions that have dominated critical theory since the affective turn. Psychoanalytic theory’s conception of affect and discourse as co-entangled, the Introduction shows, offers a means of accounting for the role of emotions in securing the hold of Stalinism’s ideological agendas without nullifying their capacity to shift and expand official models of ‘Sovietn ess’." @default.
- W4236330897 created "2022-05-12" @default.
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- W4236330897 date "2020-07-08" @default.
- W4236330897 modified "2023-10-16" @default.
- W4236330897 title "Introduction" @default.
- W4236330897 doi "https://doi.org/10.1093/oso/9780198831099.003.0001" @default.
- W4236330897 hasPublicationYear "2020" @default.
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