title: Interpreting Eisenstein’s Ivan the Terrible
metadata.name: dc.contributor.author
metadata.value: Brandenberger D.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2021-06-07T16:29:08Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2021-06-07T16:29:08Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2021-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Brandenberger D. ‘Interpreting Eisenstein’s Ivan the Terrible’, Modern History of Russia, vol. 11, no. 1, 2021, pp. 222–229.
metadata.lang: en_GB
metadata.name: dc.identifier.issn
metadata.value: https://doi.org/10.21638/11701/spbu24.2021.115
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/29236
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: This critical analysis of Joan Neuberger’s book This Thing of Darkness (Cornell University Press, 2019)
  hails the monograph for its exhaustive research and thorough analysis. Eisenstein stands out in the pages of This
  Thing of Darkness as the quintessential non-conformist — an exception to everything we know about Soviet subjectivity. Neuberger argues that the question of whether Eisenstein was pro-Soviet or anti-Soviet is effectively
  a reductionist dead end. Eisenstein, she suggests, was an exception — someone who defied categorization,
  whether by his cinematographer contemporaries or by Stalin himself, for that matter. The article contends that
  Neuberger’s reading of Eisenstein as an imaginative, stubborn, risk-taking and subversive director challenges
  recent scholarship on the restrictive nature of Stalinist subjectivity. The author also investigates Neuberger’s
  contention that Stalin banned the second part of Ivan the Terrible in part because of the film’s homoeroticism
  by reexamining the fragmentary historical record. In so far as there is no reason to think that Stalin would have
  hesitated to articulate to Zhdanov or to Eisenstein and Cherkasov any specific objections he had to the film’s
  homoeroticism, the author suspects that the best explanation for the dictator’s banning of the film remains the
  historical license that Eisenstein took with the official Stalinist line on the terrible tsar.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
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: homoeroticism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: homophobia
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Zhdanov
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Interpreting Eisenstein’s Ivan the Terrible
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 222-229.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/29236/1/222-229.pdf
resources.format: Adobe PDF
resources.size: 2,21 MB