One of the iconic images of WWII was a Russian soldier raising a red flag atop the ruins of the German Reichstag. Award-winning author Hicks explores how the Soviets, and then Putin, have used this image and the banner itself to build a remarkably powerful mythology of Russian greatness.

Victory Banner Over the Reichstag, The: Film, Document and Ritual in Russia's Contested Memory of World War II (Russian and East European Studies)

History

Hicks, Jeremy

Military

University of Pittsburgh Press

Most early Western perceptions of the Holocaust were based on newsreels filmed during the Allied liberation of Germany in 1945. Little, however, was reported of the initial wave of material from Soviet filmmakers, who were in fact the first to document these horrors. In First Films of the Holocaust, Jeremy Hicks presents a pioneering study of Soviet contributions to the growing public awareness of the horrors of Nazi rule.Even before the war, the Soviet film Professor Mamlock, which premiered in the United States in 1938 and coincided with the Kristallnacht pogrom, helped reinforce anti-Nazi sentiment. Yet, Soviet films were often dismissed or even banned in the West as Communist propaganda. Ironically, in the brief 1939–1941 period of Nazi and Soviet alliance, such films were also banned in the Soviet Union, only to be reclaimed after the Nazi attack on the Soviet Union in 1941, and suppressed yet again during the Cold War. Jeremy Hicks recovers much of the major film work in Soviet depictions of the Holocaust and views them within their political context, both locally and internationally. Overwhelmingly, wartime films were skewed to depict Soviet resistance, “Red funerals,” and calls for vengeance, rather than the singling out of Jewish victims by the Nazis. Almost no personal testimony of victims or synchronous sound was recorded, furthering the disconnection of the viewer to the victims. Hicks examines correspondence, scripts, reviews, and compares edited with unedited film to unearth the deliberately hidden Jewish aspects of Soviet depictions of the German invasion and occupation. To Hicks, it’s in the silences, gaps, and ellipses that the films speak most clearly. Additionally, he details the reasons why Soviet Holocaust films have been subsequently erased from collective memory in the West and the Soviet Union: their graphic horror, their use as propaganda tools, and the postwar rise of the Red Scare in the United States and anti-Semitic campaigns in the Soviet Union.

First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938–1946 (Russian and East European Studies, 233)

Humor & Entertainment

Movies

Garnett Book of Russian Verse: A Treasury of Russian Poets from 1730-1996

Literature & Fiction

Pilkington, Anna

Makarova, Olga

Rayfield, Donald (eds.)

Poetry

Garnett Press

Dziga Vertov: Defining Documentary Film (KINO - The Russian and Soviet Cinema)

Pioneer of political documentary and inventor of cinéma vérite, Dziga Vertov has exerted a decisive influence on directors from Eisenstein to Godard.  Yet his reputation long rested upon a lone masterpiece, Man with a Movie Camera. Recently, however Vertov has begun to be recognised as the creator of a body of innovative and distinct films and, as Jeremy Hicks argues, documentary as we know it today is unthinkable without the rediscovery of Vertov. This, the first book in English to cover the whole of Vertov's career, reveals him to be an auteur, allowing readers to combine the familiar and less familiar aspects of his filmmaking and thinking in a cohesive narrative.   Jeremy Hicks demonstrates how Vertov draws on Soviet journalistic models for his transformation of newsreel into the new form of documentary film. Through analyses of Cine-Pravda No 21 (Leninist Cine-Pravda), Cine-Eye, Forward Soviet!, A Sixth Part of the Earth, The Eleventh Year, Man with a Movie Camera, Enthusiasm, Three Songs of Lenin, and Lullaby, he shows how Vertov's greatest works combine authentic documentary footage ingeniously for tremendous rhetorical effect. Today, with the energetic revival of interest in documentary film, Vertov's reflexive and overtly partisan films are of great relevance; but they need to be better known and understood. This is the purpose of Dziga Vertov - Defining Documentary Film.

I.B.Tauris

Pioneer of political documentary and inventor of cinema verite, Dziga Vertov has exerted a decisive influence on directors from Eisenstein to Godard. Yet his reputation long rested upon a lone masterpiece, 'Man with a Movie Camera'. Recently, however Vertov has begun to be recognised as the creator of a body of innovative and distinct films and, as Jeremy Hicks argues, documentary as we know it today is unthinkable without the rediscovery of Vertov. This, the first book in English to cover the whole of Vertov's career, reveals him to be an auteur, allowing readers to combine the familiar and less familiar aspects of his filmmaking and thinking in a cohesive narrative. Jeremy Hicks demonstrates how Vertov draws on Soviet journalistic models for his transformation of newsreel into the new form of documentary film. Through analyses of "Cine-Pravda No 21" (Leninist Cine-Pravda), "Cine-Eye", "Forward Soviet!", "A Sixth Part of the Earth", "The Eleventh Year", "Man with a Movie Camera", "Enthusiasm", "Three Songs of Lenin", and "Lullaby", he shows how Vertov's greatest works combine authentic documentary footage ingeniously for tremendous rhetorical effect. Today, with the energetic revival of interest in documentary film, Vertov's reflexive and overtly partisan films are of great relevance; but they need to be better known and understood. This is the purpose of "Dziga Vertov - Defining Documentary Film".

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