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Soviet Cinema Online, part 1 Journals & part 2 Newspapers

Periodicals and Newspapers, 1918-1942

Part 1: Journals Online • Number of titles: 27 • Languages used: Russian • Title list available • MARC records available Part 2: Newspapers Online • Number of titles: 20 • Languages used: Russian • Title list available • MARC records available • Location of originals: National Library of Russia, St. Petersburg The collection includes Soviet film magazines and newspapers from the 1920s and 1930s, reflecting the most interesting and fertile period in the history of Russian film. These publications are largely absent from book collections in the West, and are now presented for the first time as a large, complete set. They shed light on the production side of Soviet cinematography, as well as on the theoretical and practical concepts developed by the period’s leading directors and critics. They also highlight the role of film in Soviet cultural life. Film magazines and newspapers featured articles by leading Soviet directors (Lev Kuleshov, Sergei Eisenstein, Dziga Vertov, Aleksandr Dovzhenko, Abram Room), as well as members of the avant-garde LEF, leading authors and philologists.


Various Authors & Editors

World of Children in the USSR
Artek pioneer camp archives, 1944-1967

As part of our Mass Culture and Everyday Life in Russia publishing project, we are proud to announce a series of publications on the life of young people in the USSR and their subculture. The first set of documents we present are on the Artek Pioneer Camp, which are held in the Komsomol Archives.

Research Value of the Collection
This collection documents the history of Artek, the main Soviet pioneer recreation camp, and includes information on various aspects of youth policy and young people’s lives in the Soviet Union in the period from 1944 to 1967. It contains government documents, administrative, medical and financial records, transcripts of meetings, statistical reports, letters from Soviet and foreign children, diaries etc. These documents provide an insight into everyday life and mentality of Soviet children. The archive is a valuable resource for a wide circle of researchers in such fields as sociology, cultural studies, philology and political history.

• Everyday life of children/ pioneers in the USSR
• Soviet children and youth policy
• Social policy
• Totalitarian art
• Gender history
• Soviet mythology
• Ethnic policy and international relations

Artek as the Capital City of Soviet Children
This famous children camp was officially dubbed as “capital city of Soviet children”. Founded in 1925 as a medical rehabilitation centre for children, Artek soon became the model of children’s communist paradise intended as a showcase of the achievements of the State’s political and propaganda technologies. Indeed, the superb living conditions and facilities for the children staying in the camp were a dream come true compared with the usual living conditions of most Soviet people. By the 60s, tens of thousands children from various countries passed through the camp each season. The list of celebrity guests who visited Artek in the 40s and 60s includes Nikita Khruschchev, Clementine Spencer-Churchill, the British Prime Minister's wife, Jawaharlal Nehru, Indira Gandhi and Yuri Gagarin. Artek’s Archive reflects the camp’s history in the period between 1944 and 1967. All earlier records were lost during the Second World War when Artek was under the German occupation. The camp’s records covering the 70s and 80s are stored within the camp, and it is difficult for researchers to access these materials.

Children in the Soviet Union
The Soviet childhood phenomenon has recently become a subject of increasing attention of anthropologists, specialists in cultural studies, linguists, philologists as well as political and social historians. Soviet children’s culture had its own musical and language traditions, art, theatre, cinematography, powerful graphic symbols, elaborate ceremonies and rituals and its own literature. The world of the Soviet child was carefully controlled by adults. On the one hand, children immediately participated in the social life of Soviet adults: children partook in demonstrations with their parents, listened to political information on the school radio, etc. On the other hand a special microcosm was modelled for the Soviet child: the Pioneer organization. Children’s life had to flow along the stream of “rules for the behaviour of pioneers” and “pioneer laws”. A child’s time, space, everyday life and holidays were strictly regulated. Together with school, it was more effective than the family in having an effect on the upbringing of children. For many decades this guarantied the vitality of that special type of the human species, the Homo Sovieticus.

The collection contains
• Materials on Soviet social and health policies
• Children health reports, food rations and provision standards
• Materials on educational and ideological work carried out in the camp
• Numerous children’s letters including letters of foreign children
• A collection of songs and event plans
• Broadcast texts and lists of recommended films.


Jim Samson

This book asks how a study of many different musics in South East Europe can help us understand the construction of cultural traditions, East and West. It crosses boundaries of many kinds, political, cultural, repertorial and disciplinary. Above all, it seeks to elucidate the relationship between politics and musical practice in a region whose art music has been all but written out of the European story and whose traditional music has been subject to appropriation by one ideology after another. South East Europe, with its mix of ethnicities and religions, presents an exceptionally rich field of study in this respect. The book will be of value to anyone interested in intersections between pre-modern and modern cultures, between empires and nations and between culture and politics.

Artists at Play

Natalia Erenburg, Iakov Tugendkhold, and the Exhibition of Russian Folk Art at the “Salon d’Automne” of 1913

Anna Winestein

collecting and display of narodnoe iskusstvo [folk art]. 1 This article addresses this gap, examining the artistic circles where the project originated, earlier efforts to present Russian folk art in Paris, the show’s rationale and selection of particular works, from private and public collections, as

The Poetics and Aesthetics of Otherness

Orientalism and Identity at Abramtsevo

Maria Taroutina

present article investigates the pervasiveness of Eastern motifs, themes, and subjects in the works of a number of prominent artists of the Abramtsevo circle, including Korovin, Polenov, Repin, Serov, Viktor Vasnetsov, and Vrubel. Mamontov himself took a keen interest in the art and culture of the East

Eleonora Paston


This article examines questions related to dilettantism, typically defined in negative terms as engagement in an activity without proper professional training. However, this concept can also prompt a positive association, connoting freedom from inertia, ossified techniques, and professional stereotypes and clichés. The present article contends that dilettantism is especially necessary in transitional periods of art history. At such moments, innovations may arise more readily in intimate and amateur circles, rather than in professional contexts. Such a circle developed in the 1870s-90s among the community of artists who gathered around the prominent industrialist and philanthropist Savva Mamontov, a man of diverse talents, who astutely intuited new trends in art. This group of artists came to be known as the Abramtsevo artistic circle, after the name of Mamontov’s country estate located just outside of Moscow, where the vast majority of their artistic activities took place.

In Abramtsevo’s informal, creative atmosphere ideas for new aesthetic projects spontaneously materialized across a range of different artistic spheres—theater, architecture, decorative, and applied arts—in which members of the circle were essentially amateurs. But it is precisely in these areas that the artists would make their most significant contributions. Thus, the first seeds of a novel understanding of theatrical production as a single immersive entity were initially sown on the amateur stage of the Abramtsevo estate and subsequently fully blossomed in Mamontov’s Private Opera (1885-91; 1896-99), which played a foundational role in the development of Russian musical theater. The Church of the Spas nerukotvornyi [Savior Not Made by Human Hands], built by members of the Abramtsevo circle (1881-82), became the first exemplar of the Neo-Russian style in the history of Russian architecture, an important constituent of stil modern or Russian Art Nouveau. The activities of the kustar workshops in Abramtsevo—the carpentry workshop (1885) and the Abramtsevo ceramic studio (1890)—made a significant contribution to the development of the applied arts and industrial design in Russia, leading to their “rebirth” on a national level.

“A Special Place”

On the Significance of Abramtsevo

Elena Voronina

than thirty thousand museum objects), as well as the wonderful landscape that is easily recognizable in the canvases of numerous famous Russian artists (the total area of the reserve is around 50 hectares). We hope that the present publication will be of interest not only to specialists, but also to

Vasilii Polenov’s Architectural Projects

Between the Neo-Russian Style and National Romanticism

Elena Kashtanova

“pure” styles in architecture, for there are always borrowings from past and present. Appeals to the traditions of Old Russian architecture, free interpretation, the desire to convey the spirit of Ancient Russia—all of this gave rise to the Neo-Russian style, the earliest example being the Church of the

Darya Manucharova

’ intention to introduce a new educational paradigm with the help of art. The present article is devoted to this rarely studied topic and focuses on the didactic ideas of Savva Mamontov’s circle in the sphere of theater, examining both the early amateur theatrical works and the later “golden age” of Mamontov

Inge Wierda

its religious and artistic legacy continue to resonate in Russian culture to the present day. The area in question derives its name from Saint Sergius (1314-92), who, seven hundred years ago, traversed the soil of Radonezh, Khotkovo, Sergiev Posad, and its environs. Like the region’s religious