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"Police aesthetics": Literature, fil...

Harvard University.

"Police aesthetics": Literature, film, and the secret police archives in Eastern Europe (Russia, Romania, Viktor Shklovsky, Dziga Vertov, Alexander Medvedkin).

Record Type:	Electronic resources : Monograph/item
Title/Author:	"Police aesthetics": Literature, film, and the secret police archives in Eastern Europe (Russia, Romania, Viktor Shklovsky, Dziga Vertov, Alexander Medvedkin).
Author:	Vatulescu, Cristina Laura.
Description:	260 p.
Notes:	Adviser: Svetlana Boym.
Notes:	Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1758.
Contained By:	Dissertation Abstracts International66-05A.
Subject:	Literature, Comparative.
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3174061
ISBN:	9780542119804

"Police aesthetics": Literature, film, and the secret police archives in Eastern Europe (Russia, Romania, Viktor Shklovsky, Dziga Vertov, Alexander Medvedkin).
Vatulescu, Cristina Laura.

"Police aesthetics": Literature, film, and the secret police archives in Eastern Europe (Russia, Romania, Viktor Shklovsky, Dziga Vertov, Alexander Medvedkin). - 260 p.

Adviser: Svetlana Boym.

Thesis (Ph.D.)--Harvard University, 2005.

Chapter Four follows the dynamic interaction between the secret police and cinema. My primary focus is not on films about the police, but rather on films that took it upon themselves to do the policing---kino police. I explore newsreels, documentaries, and feature films that the secret police openly sponsored, but also the work of well-known filmmakers like Dziga Vertov and Alexander Medvedkin who advocated using the camera as a weapon, spy, and prosecutor.

ISBN: 9780542119804Subjects--Topical Terms:

178247
Literature, Comparative.

"Police aesthetics": Literature, film, and the secret police archives in Eastern Europe (Russia, Romania, Viktor Shklovsky, Dziga Vertov, Alexander Medvedkin).
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245 1 0 $a "Police aesthetics": Literature, film, and the secret police archives in Eastern Europe (Russia, Romania, Viktor Shklovsky, Dziga Vertov, Alexander Medvedkin).
300 $a 260 p.
500 $a Adviser: Svetlana Boym.
500 $a Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1758.
502 $a Thesis (Ph.D.)--Harvard University, 2005.
520 # $a Chapter Four follows the dynamic interaction between the secret police and cinema. My primary focus is not on films about the police, but rather on films that took it upon themselves to do the policing---kino police. I explore newsreels, documentaries, and feature films that the secret police openly sponsored, but also the work of well-known filmmakers like Dziga Vertov and Alexander Medvedkin who advocated using the camera as a weapon, spy, and prosecutor.
520 # $a Chapter One starts with an anatomy of the personal file and investigates how this genre changed from the 1920s through the 1980s. I argue that while a classic police file is usually limited to recording one crime, the Soviet personal file was defined by a drive to cover the extensive biography of the subject. In my attempt to assess the place of this powerful genre in the culture of its times, I consider writers who had direct contact with the files, such as Isaac Babel and Viktor Shklovsky, and writers for whom indirect contact bred intense fascination with the files and left defining marks on their oeuvre. Thus Chapter Two argues that Mikhail Bulgakov's novel The Master and Margarita appropriates and parodies the model of the secret police file. Chapter Three studies the intersections between literary memoirs and first-person narratives typically found in secret police files, such as autobiographies, trial depositions, letters to the government, and confessions. Largely focused on the work of Viktor Shklovsky, this chapter also traces the conflicted development of his famous concept of estrangement (ostranenie) through his writings and beyond, in the work of Nicolae Steinhardt and Joseph Brodsky, and also in secret police interrogation and reeducation practices.
520 # $a This study explores the intersections between cultural and policing practices in twentieth-century Eastern Europe. Taking advantage of the partial opening of the secret police archives in Russia and Romania, I focus on their most infamous holdings---the personal files---as well as on their little known film collections.
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