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"This study is a comparative analysis of post-revolution non-fiction film and the contexts in which they were produced in two case studies: the Soviet Union from 1917-1928 and Cuba from 1959-1975. During these post-revolutionary periods, film, especially non-fiction film, takes on a heightened responsibility. States call on non-fiction film to play a key role in edifying and unifying the nation. By connecting particular locations and events to shared public narratives, documentaries and newsreels become privileged sites for interrogating the construction of the nation that is essential to the political process following these revolutions."@en
"Following successful overthrows, revolutionary leaders face a fundamental perplexity: they must create a sense of newness that marks the moment of revolution as transformative and institute the stability necessary to realize their vision. Non-fiction film has been widely thought capable of offering the informational element, which can aid in stabilization. But the history of non-fiction film reveals numerous examples in which newsreels and documentaries were highly emotive, even to the point where they became associated with cultural currents intent on using art to inspire utopian dreams of a new revolutionary society. The cases this study examines are two of the more prominent examples."@en
"In the charged atmosphere of post-revolution, artistic and political forces often join in the effort to reimagine a new national space for a liberated people. Joshua Malitsky examines nonfiction film and nation building to better understand documentary film as a tool used by the state to create powerful historical and political narratives. Drawing on newsreels and documentaries produced in the aftermath of the Russian revolution of 1917 and the Cuban revolution of 1959, Malitsky demonstrates the ability of nonfiction film to help shape the new citizen and unify, edify, and modernize society"
"In the course of this study I delineate an overall trajectory applicable to both cases, which can be roughly broken down into three periods. The first period was dominated by films with a fairly realist aesthetic and intent on reporting recent events. The second period has been considered the height of non-fiction film artistic experimentation, where each nation's foremost non-fiction filmmaker---Dziga Vertov in the Soviet Union and Santiago Alvarez in Cuba---mobilized rapid montage, photographic trickery, expressive titling, and complex structuration with the aim of transforming the intellectual and perceptual lives of the viewer. The third period returned to a more-realist aesthetic, albeit one that maintained some cinematic and pedagogical resonances with the second period. But within this period, instead of disappearing entirely, utopian elements attached to non-fiction practice, industrial policy, and nation-building policy get re-imagined and resituated within pragmatic contexts. Examining the relationship between non-fiction film and the nation-state during these periods allows us to rethink how changes in artistic production and in conceptions of art's role within revolutionary society occurred, to identify what revolutionary artists and revolutionary leaders prioritized, and to see what, politically and artistically, was sustainable following these highly charged historical periods."@en

genre

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"Livres électroniques"
"Criticism, interpretation, etc"
"Electronic books"

name

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"Post-revolution nonfiction film building the Soviet and Cuban nations"
"Post-revolution non-fiction film : building the Soviet and Cuban nations"@en
"Post-revolution nonfiction film. Building the Soviet and Cuban nations"
"Post-revolution nonfiction film : building the Soviet and Cuban nations"
"Post-revolution nonfiction film : Building the Soviet and Cuban nations"
"Post-revolution non-fiction film Building the Soviet and Cuban nations"@en

workExample

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