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Realism's Ruins: Destruction, Decay,...

Hamilton, Emma .

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Realism's Ruins: Destruction, Decay, and the Demise of Soviet Socialist Realism and Italian Neorealism.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Realism's Ruins: Destruction, Decay, and the Demise of Soviet Socialist Realism and Italian Neorealism./
Author:	Hamilton, Emma .
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	197 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
Contained By:	Dissertations Abstracts International81-03A.
Subject:	Comparative literature. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13809180
ISBN:	9781085671132

Realism's Ruins: Destruction, Decay, and the Demise of Soviet Socialist Realism and Italian Neorealism.
Hamilton, Emma .

Realism's Ruins: Destruction, Decay, and the Demise of Soviet Socialist Realism and Italian Neorealism. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 197 p.

Source: Dissertations Abstracts International, Volume: 81-03, Section: A.

Thesis (Ph.D.)--New York University, 2019.

This item must not be sold to any third party vendors.

This dissertation re-examines the relationship between the films, filmmakers, and critics of Soviet Socialist Realism, often described as a specious or ersatz realism, and the much-lauded Italian neorealism. Going back to their origins, it is revealed that the movements have much more in common than commonly acknowledged but it is on the subject of ruins that their differences are crystallized. One of the hallmarks of Italian neorealism is its focus on the destroyed landscapes caused by World War II, whereas in the early days of Socialist Realism, Eisenstein's Bezhin Meadow was censored for being a "carnival of destruction." And it was not until 1957, after the death of Stalin and a decade after the end of the war, that the destruction of World War II in Russia was really acknowledged in filmic depictions. This stance on ruins is indicative of different stances on contingency in all forms, as expressed in plot construction and relationship to history. But after Khrushchev's "secret speech" and de-Stalinization, Italian ruin temporality began to seep in to Socialist Realist practice, a shift that left its mark until the official end of Socialist Realism in 1990. Meanwhile, in Italy, the revelations about Socialist Realist film in the secret speech resulted not only in a turn away from Socialist Realism but also from neorealism as well. By charting the coverage of the movements in the respective film journals (Italian coverage of Socialist Realism and Soviet coverage of neorealism), it is argued that ultimately the two movements are inextricably bound up in each other's demise.

ISBN: 9781085671132Subjects--Topical Terms:

570001
Comparative literature.
Subjects--Index Terms:

Film theory

Realism's Ruins: Destruction, Decay, and the Demise of Soviet Socialist Realism and Italian Neorealism.
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500 $a Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
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520 $a This dissertation re-examines the relationship between the films, filmmakers, and critics of Soviet Socialist Realism, often described as a specious or ersatz realism, and the much-lauded Italian neorealism. Going back to their origins, it is revealed that the movements have much more in common than commonly acknowledged but it is on the subject of ruins that their differences are crystallized. One of the hallmarks of Italian neorealism is its focus on the destroyed landscapes caused by World War II, whereas in the early days of Socialist Realism, Eisenstein's Bezhin Meadow was censored for being a "carnival of destruction." And it was not until 1957, after the death of Stalin and a decade after the end of the war, that the destruction of World War II in Russia was really acknowledged in filmic depictions. This stance on ruins is indicative of different stances on contingency in all forms, as expressed in plot construction and relationship to history. But after Khrushchev's "secret speech" and de-Stalinization, Italian ruin temporality began to seep in to Socialist Realist practice, a shift that left its mark until the official end of Socialist Realism in 1990. Meanwhile, in Italy, the revelations about Socialist Realist film in the secret speech resulted not only in a turn away from Socialist Realism but also from neorealism as well. By charting the coverage of the movements in the respective film journals (Italian coverage of Socialist Realism and Soviet coverage of neorealism), it is argued that ultimately the two movements are inextricably bound up in each other's demise.
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