Cinema, Nation, and Empire in Uzbekistan, 1919-1937 by Cloe Drieu (2019, Trade Paperback) online kaufen

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Product Identifiers

PublisherIndiana University Press

ISBN-100253037840

ISBN-139780253037848

eBay Product ID (ePID)242363221

Product Key Features

Number of Pages312 Pages

Publication NameCinema, Nation, and Empire in Uzbekistan, 1919-1937

LanguageEnglish

SubjectAsia / Central Asia, Russia & the Former Soviet Union, Film / History & Criticism

Publication Year2019

TypeTextbook

AuthorCloe Drieu

Subject AreaPerforming Arts, History

FormatTrade Paperback

Dimensions

Item Height0.8 in

Item Weight16.9 Oz

Item Length9 in

Item Width7.5 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN2018-019384

Reviews"Cloé Drieu's meticulous and engaging monograph, deftly translated from the French by Adrian Morfee, treats the former period in Uzbekistan, the first of the five republics to establish a national film industry."-- Russian Review, Cloé Drieu's meticulous and engaging monograph, deftly translated from the French by Adrian Morfee, treats the former period in Uzbekistan, the first of the five republics to establish a national film industry.

Grade FromCollege Graduate Student

IllustratedYes

Table Of ContentNote on Transcriptions Prologue Acknowledgements Introduction Part 1: Decolonizing Central Asia: Film Structures and Representations (1919-1927) Turkestan Prior to the Birth of the USSR: Revolts and "Colonial Revolution" 1. Cultural Autonomy and the Nation (1919-1924) 2. Revolutionary Exoticism and the Colonial Imaginary?Cinema and Entertainment (1924-1927) Part 2: Cultural Revolution and Its Paradoxes: Nation, Modernity, and Empire (1927-1931) "Cinematographic Cultural Revolution" 3. The National Cinematographic Sphere 4. Uzbek Film and the Shift Towards Imperial Domination Part 3: The Paradoxes of the Nationalities Policy: Nationalism vs. Internationalism (1931-1937) Working as an Uzbek Artist under Stalin: Ambivalence, Resistance, and Nationalism 5. The Nationalist Cinematographic Imaginary: Subjugating Class to Nation 6. The Empire of the Proletariat?Subjugating Nation to Class Conclusion: Social Rank in the Neoliberal Era Appendix Glossary Bibliography Index

SynopsisBetween the founding of Soviet Uzbekistan in 1924 and the Stalinist Terror of the late 1930s, a nationalist cinema emerged in Uzbekistan giving rise to the first wave of national film production and an Uzbek cinematographic elite. In Cinema, Nation, and Empire in Uzbekistan Cloé Drieu uses Uzbek films as a lens to explore the creation of the Soviet State in Central Asia, starting from the collapse of the Russian Empire up through the eve of WWII. Drieu argues that cinema provides a perfect angle for viewing the complex history of domination, nationalism, and empire (here used to denote the centralization of power) within the Soviet sphere. By exploring all of film's dimensions as a socio-political phenomenon?including film production, film reception, and filmic discourse?Drieu reveals how nation and empire were built up as institutional realities and as imaginary constructs. Based on archival research in the Uzbek and Russian State Archives and on in-depth analyses of 14 feature-length films, Drieu's work examines the lively debates within the totalitarian and so-called revisionist schools that invigorated Soviet historiography, positioning itself within contemporary discussions about the processes of state- and nation-building, and the emergence of nationalism more generally. Revised and expanded from the original French, Cinema, Nation, and Empire in Uzbekistan helps us to understand how Central Asia, formerly part of the Russian Empire, was decolonized, but later, in the run-up to the Stalinist period and repression of the late 1930s, suffered a new style of domination., Between the founding of Soviet Uzbekistan in 1924 and the Stalinist Terror of the late 1930s, a nationalist cinema emerged in Uzbekistan giving rise to the first wave of national film production and an Uzbek cinematographic elite. In Cinema, Nation, and Empire in Uzbekistan Cloé Drieu uses Uzbek films as a lens to explore the creation of the Soviet State in Central Asia, starting from the collapse of the Russian Empire up through the eve of WWII. Drieu argues that cinema provides a perfect angle for viewing the complex history of domination, nationalism, and empire (here used to denote the centralization of power) within the Soviet sphere. By exploring all of film's dimensions as a socio-political phenomenon--including film production, film reception, and filmic discourse--Drieu reveals how nation and empire were built up as institutional realities and as imaginary constructs. Based on archival research in the Uzbek and Russian State Archives and on in-depth analyses of 14 feature-length films, Drieu's work examines the lively debates within the totalitarian and so-called revisionist schools that invigorated Soviet historiography, positioning itself within contemporary discussions about the processes of state- and nation-building, and the emergence of nationalism more generally. Revised and expanded from the original French, Cinema, Nation, and Empire in Uzbekistan helps us to understand how Central Asia, formerly part of the Russian Empire, was decolonized, but later, in the run-up to the Stalinist period and repression of the late 1930s, suffered a new style of domination., Between the founding of Soviet Uzbekistan in 1924 and the Stalinist Terror of the late 1930s, a nationalist cinema emerged in Uzbekistan giving rise to the first wave of national film production and an Uzbek cinematographic elite. In Cinema, Nation, and Empire in Uzbekistan Clo Drieu uses Uzbek films as a lens to explore the creation of the Soviet State in Central Asia, starting from the collapse of the Russian Empire up through the eve of WWII. Drieu argues that cinema provides a perfect angle for viewing the complex history of domination, nationalism, and empire (here used to denote the centralization of power) within the Soviet sphere. By exploring all of film's dimensions as a socio-political phenomenon--including film production, film reception, and filmic discourse--Drieu reveals how nation and empire were built up as institutional realities and as imaginary constructs. Based on archival research in the Uzbek and Russian State Archives and on in-depth analyses of 14 feature-length films, Drieu's work examines the lively debates within the totalitarian and so-called revisionist schools that invigorated Soviet historiography, positioning itself within contemporary discussions about the processes of state- and nation-building, and the emergence of nationalism more generally. Revised and expanded from the original French, Cinema, Nation, and Empire in Uzbekistan helps us to understand how Central Asia, formerly part of the Russian Empire, was decolonized, but later, in the run-up to the Stalinist period and repression of the late 1930s, suffered a new style of domination., 1. This book explores the story of the deeply nuanced relationship between Soviet colonial power and Uzbek locals, told through the lens of film. By comparing Russian and Moscowtrained filmmakers representations of the empire's borderlands as well as Uzbek filmmakers' work to escape steryotypes and depict life as they saw it, a deeper picture of the interrelationship between these two groups emerges. 2. Cloe Drieu takes a thoughtful approach in this historical study of Central Asia. Her work has already been published in French and this will be an opportunity to bring her research to a new English speaking audience. Additionally, the text has been significantly expanded and revised in the English edition. 3. This work will appeal broadly to a cross-disciplinary section of scholars who already look for IUP for our expertise in both Asian Studies, East European and Slavic Studies, and Film Studies.

LC Classification NumberPN1993.5.U9D7513