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Beyond formalism: The function of th...

Tupitsyn, Margarita.

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Beyond formalism: The function of the Soviet photograph: 1924-1937.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Beyond formalism: The function of the Soviet photograph: 1924-1937./
Author:	Tupitsyn, Margarita.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1996,
Description:	322 p.
Notes:	Source: Dissertation Abstracts International, Volume: 57-10, Section: A, page: 4170.
Contained By:	Dissertation Abstracts International57-10A.
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9707157
ISBN:	9780591143034

Beyond formalism: The function of the Soviet photograph: 1924-1937.
Tupitsyn, Margarita.

Beyond formalism: The function of the Soviet photograph: 1924-1937. - Ann Arbor : ProQuest Dissertations & Theses, 1996 - 322 p.

Source: Dissertation Abstracts International, Volume: 57-10, Section: A, page: 4170.

Thesis (Ph.D.)--City University of New York, 1996.

The primary focus of this dissertation is an analysis of a function of the photographic image in the Soviet Union between 1924, the year of Lenin's death and 1937, the year of Stalin's implementation of the Soviet Constitution. The major examples of straight photography and photomontage produced in this period by Aleksandr Rodchenko, Gustav Klutsis, Sergei Sen'kin, El Lissitzky, Valentina Kulagina, Natalia Pinus, Elizar Langman, and Boris Ignatovich are discussed and related to such sociopolitical events as New Economic Policy, Lenin's death, First and Second Five-Year Plans, and to the process of increasing censorship toward the arts. Among the issues that are examined are the changing functions of representation and authorship in Socialist society and the new role given to artists in the mass media. The dissertation establishes a link between the writings of critics such as Osip Brik, Sergei Tret'iakov, Leonid Volkov-Lannit, Victor Shklovsky, Boris Eikhenbaum, and Lev Iakubinskij and the development of photography and photomontage during this period. This study also includes previously unpublished and untranslated material from Klutsis's letters, Rodchenko's public presentations on photography, Lissitzky's late writings about mass media, and Valentina Kulagina's personal diaries. Many previously unknown photographs provide an important visual supplement to the ideas expressed in this dissertation.

ISBN: 9780591143034Subjects--Topical Terms:

2122701
Art history.

Beyond formalism: The function of the Soviet photograph: 1924-1937.
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245 1 0 $a Beyond formalism: The function of the Soviet photograph: 1924-1937.
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500 $a Source: Dissertation Abstracts International, Volume: 57-10, Section: A, page: 4170.
500 $a Adviser: Rose-Carol Washton Long.
502 $a Thesis (Ph.D.)--City University of New York, 1996.
520 $a The primary focus of this dissertation is an analysis of a function of the photographic image in the Soviet Union between 1924, the year of Lenin's death and 1937, the year of Stalin's implementation of the Soviet Constitution. The major examples of straight photography and photomontage produced in this period by Aleksandr Rodchenko, Gustav Klutsis, Sergei Sen'kin, El Lissitzky, Valentina Kulagina, Natalia Pinus, Elizar Langman, and Boris Ignatovich are discussed and related to such sociopolitical events as New Economic Policy, Lenin's death, First and Second Five-Year Plans, and to the process of increasing censorship toward the arts. Among the issues that are examined are the changing functions of representation and authorship in Socialist society and the new role given to artists in the mass media. The dissertation establishes a link between the writings of critics such as Osip Brik, Sergei Tret'iakov, Leonid Volkov-Lannit, Victor Shklovsky, Boris Eikhenbaum, and Lev Iakubinskij and the development of photography and photomontage during this period. This study also includes previously unpublished and untranslated material from Klutsis's letters, Rodchenko's public presentations on photography, Lissitzky's late writings about mass media, and Valentina Kulagina's personal diaries. Many previously unknown photographs provide an important visual supplement to the ideas expressed in this dissertation.
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