2. Allegory and Accommodation: Vertov’s Three Songs of Lenin (1934) as a Stalinist Film

Kapitel in diesem Buch

1. Frontmatter 1
2. Contents 5
3. List of Illustrations 7
4. Note from the Editors 8
5. I. An Introduction to the Russian Avant-Garde and Radical Modernism
6. Introduction 10
7. II. Russian Futurism and the Related Currents
8. 1. Hylaea 21
9. 2. Russian Art of the Avant-Garde (Translated Texts) 85
10. 3. The Phenomenon of David Burliuk in the History of the Russian Avant-Garde Movement 150
11. 4. The Revolutionary Art of Natalia Goncharova and Mikhail Larionov 170
12. III. Russian Suprematism and Constructivism
13. 1. Kazimir Malevich: His Creative Path 206
14. 2. Constructivism and Productivism in the 1920s 227
15. 3. The Birth of Socialist Realism from the Spirit of the Russian Avant-Garde 250
16. 4. Russian Art of the Avant-Garde (Translated Texts) 277
17. IV. The OBERIU Circle (Daniil Kharms and His Associates)
18. 1. OBERIU: Daniil Kharms and Aleksandr Vvedensky on/in Time and History 296
19. 2. Some Philosophical Positions in Some “OBERIU” Texts (Translator’s preface) 314
20. V. Russian Experimental Performance and Theater
21. 1. Vsevolod Meyerhold 357
22. 2. The Culture of Experiment in Russian Theatrical Modernism: the OBERIU Theater and the Biomechanics of Vsevolod Meyerhold 385
23. VI. Avant-Garde Cinematography: Sergei Eisenstein and Dziga Vertov
24. 1. Eisenstein: A Short Biography 407
25. 2. Allegory and Accommodation: Vertov’s Three Songs of Lenin (1934) as a Stalinist Film 420
26. Concluding Addendum: The Tradition of Experimentation in Russian Culture and the Russian Avant-Garde 454
27. List of Contributors 468
28. Bibliography 472