ABSTRACT

This book explores how one of the world's most literary-oriented societies entered the modern visual era, beginning with the advent of photography in the nineteenth century, focusing then on literature's role in helping to shape cinema as a tool of official totalitarian culture during the Soviet period, and concluding with an examination of post-Soviet Russia's encounter with global television. As well as pioneering the exploration of this important new area in Slavic Studies, the book illuminates aspects of cultural theory by investigating how the Russian case affects general notions of literature's fate within post-literate culture, the ramifications of communism's fall for media globalization, and the applicability of text/image models to problems of intercultural change.

chapter |13 pages

Introduction

The scope of the task: in the beginning was the word

part |59 pages

Part I The photographic word

chapter |20 pages

1 Russian realism and the camera

Out from under Gogol's ‘Portrait'

chapter |20 pages

2 Objectivity, alienation and the fragmentation of the subject

The camera as midwife to modernity

chapter |17 pages

3 Photographic eye as poetic I

Dialogues of text and image in Maiakovskii's and Rodchenko's Pro eto project

part |75 pages

Part II Literature, the camera and the shaping of a Soviet official sphere

chapter |20 pages

5 Shooting the canon

Ekranizatsii and the (de)centring of Stalinist culture

chapter |18 pages

6 Metatextuality in the post-Stalinist ekranizatsiia

The official sphere unravels

chapter |15 pages

7 Hamlet with a guitar

The autobiographical persona of Vladimir Vysotskii as an intermedia phenomenon

part |36 pages

Part III Televising the word

chapter |13 pages

9 In place of a conclusion

Television, the end of literature and Pelevin's Generation ‘P'