title: Eisenstein’s Ivan the Terrible and the History of Mentalités
metadata.name: dc.contributor.author
metadata.value: Petrone, K.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2021-06-07T16:00:07Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2021-06-07T16:00:07Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2021-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Petrone K. ‘Eisenstein’s Ivan the Terrible and the History of Mentalités’, Modern History of Russia, vol. 11, no. 1, 2021, pp. 233–239.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/11701/spbu24.2021.117
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/29231
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: This essay explores Joan Neuberger’s book This Thing of Darkness (Cornell University Press, 2019)
  as a work of cultural history. It praises Neuberger’s use of cultural-historical practices such as the history of mentalités
  and the study of reception to illuminate Sergei Eisenstein’s artistic process and his subjectivity during the
  creation of Ivan the Terrible. Neuberger’s work also illuminates the mentalités of the Soviet arts establishment
  seeking to restrain Eisenstein and keep him in line with Soviet cultural norms. Neuberger convincingly argues that
  Ivan the Terrible is a subversive critique of Stalin and Stalinism and she demonstrates that Eisenstein was able to
  assimilate to Soviet society while simultaneously criticizing Soviet power. It remains doubtful, however, whether
  Soviet audiences understood Eisenstein’s cinematically complex critique. One aspect of the film’s context, however,
  that might be explored even further is the effect of the cataclysm of the Second World War on the making
  of Ivan the Terrible. Neuberger addresses Eisenstein’s grief at the loss of friends and the immense difficulties of
  creating a film after being evacuated, but author wonders whether the intense violence of the film reflects, in some
  way, Eisenstein’s perceptions of the war. The strength of this book is that it operates on so many different levels of
  analysis, and while the war is not as fully fleshed out as it might be, this fact does not take away from Neuberger’s
  mastery of Eisenstein’s milieu.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Modern History of Russia;Volume 11; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Eisenstein
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Ivan the Terrible
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Stalin
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: reception
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Mentalités
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Eisenstein’s Ivan the Terrible and the History of Mentalités
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 233-239.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/29231/1/233-239.pdf
resources.format: Adobe PDF
resources.size: 1,95 MB