In A Siberian History of Soviet Film, Caroline Damiens explores how the depictions of the indigenous 'Peoples of the North' in Soviet cinema and television evolved between 1920 and 1980. Damiens combines a detailed analysis of key works such as Forest People (1928), Igdenbu (1930), Dersu Uzala (1961 & 1975), Tymancha's Friend (1969) and The Most Beautiful Ships (1972), with primary sources like press articles, archives, and interviews, to reveal how these cinematic portrayals were created and negotiated, providing insight into the concepts of progress and authenticity in the Soviet context. She emphasises the role of indigenous individuals in shaping their cinematic image, both in front of and behind the camera, highlighting the works of lesser-known figures like Suntsai Geonka, Zinaida Pikunova, and Iurii Rytkheu. In doing so, Damiens emphasises the multifaceted nature of film, where interpretations differ based on the perspectives of those involved. Using a decolonial approach and drawing from extensive archival materials, Damiens prompts a re-evaluation of the Soviet cinematic past and present by centring indigenous voices in the narrative. In doing so, she provides a thorough exploration of the intricate relationship between culture, representation, and identity in Soviet cinema.

In A Siberian History of Soviet Film, Caroline Damiens explores how the depictions of the indigenous 'Peoples of the North' in Soviet cinema and television evolved between 1920 and 1980. Damiens combines a detailed analysis of key works such as Forest People (1928), Igdenbu (1930), Dersu Uzala (1961 & 1975), Tymancha's Friend (1969) and The Most Beautiful Ships (1972), with primary sources like press articles, archives, and interviews, to reveal how these cinematic portrayals were created and negotiated, providing insight into the concepts of progress and authenticity in the Soviet context. She emphasises the role of indigenous individuals in shaping their cinematic image, both in front of and behind the camera, highlighting the works of lesser-known figures like Suntsai Geonka, Zinaida Pikunova, and Iurii Rytkheu. In doing so, Damiens emphasises the multifaceted nature of film, where interpretations differ based on the perspectives of those involved. Using a decolonial approach and drawing from extensive archival materials, Damiens prompts a re-evaluation of the Soviet cinematic past and present by centring indigenous voices in the narrative. In doing so, she provides a thorough exploration of the intricate relationship between culture, representation, and identity in Soviet cinema.

Film emerged in pre-Revolutionary Russia to become the 'most important of all arts' for the new Bolshevik regime and its propaganda machine. This text is a complete history from the beginning of film onwards and presents an engaging narrative of both the industry and its key films in the context of Russia's social and political history.

The book provides an illuminating background of the political history of the Soviet cinema in the twenties.

This unique collection of writings and interviews highlights the important role that cinema can play for understanding Russian history, politics, culture and society in all phases-Tsarist, Soviet and post-Soviet. "This is the book for the Russian movie aficionado - personal, pointed, funny, frank and full of all kinds of inside stories and political folk tales. It is a fascinating window on Soviet/Russian pop culture that only a cultural Marco Polo and fanatical movie-goer like Louis Menashe would even dare attempt."-Hedrick Smith, Pulitzer Prize-winning author of The Russians and The New Russians"Menashe combines an encyclopedic knowledge of Russian history and society of the past 50 years with a broad-ranging and sensitive eye for cinematic meaning and detail."-Anthony Anemone, The New School University"This sparkling collection of film reviews, essays and interviews with filmmakers is a cultural history of Russia over the past 25 years. Highly recommended to everyone interested in Russia and the movies."-Denise J. Youngblood, University of Vermont, and author of Cinematic Cold War: The American and Soviet Struggle for Hearts and Minds."A great national cinema is explored in its myriad colors and textures. Not a traditional history, the book is an archive of insights captured across years of passionate viewing."-Jerry W. Carlson, The City College and Graduate Center CUNY, host of the popular program, "City Cinematheque.""Menashe allows us to see both Russia's present and her past through his crisp, clear and fresh lens of a true expert who loves the country and its films, but always remains critical enough to see their flaws and merits."-Birgit Beumers, University of Bristol

"History of Soviet film with photomontages by Rodchenko and Stepanova. Published at the high watermark of state-controlled Soviet cinema and includes work by some of the greatest film-makers in the history of the medium."--Bookseller's description.