Cloé Drieu is Research Fellow at Centre National de la Recherche Scientifique (National Center of Scientific Research, Paris) in the Centre d'études turques, ottomanes, balkaniques et centrasiatiques (CETOBAC). She is editor of Ecrans d'Orient: propagande, innovation et résistance dans les cinéma de Turquie, d'Iran et d'Asie centrale (1897-1945).Adrian Morfee is Senior Lecturer in English Translation and Literature at University of Rennes, France.

• Note on TranscriptionsPrologueAcknowledgementsIntroductionPart 1: Decolonizing Central Asia: Film Structures and Representations (1919-1927)Turkestan Prior to the Birth of the USSR: Revolts and "Colonial Revolution"1. Cultural Autonomy and the Nation (1919-1924)2. Revolutionary Exoticism and the Colonial Imaginary—Cinema and Entertainment (1924-1927)Part 2: Cultural Revolution and Its Paradoxes: Nation, Modernity, and Empire (1927-1931)<\>"Cinematographic Cultural Revolution"3. The National Cinematographic Sphere 4. Uzbek Film and the Shift Towards Imperial DominationPart 3: The Paradoxes of the Nationalities Policy: Nationalism vs. Internationalism (1931-1937)Working as an Uzbek Artist under Stalin: Ambivalence, Resistance, and Nationalism5. The Nationalist Cinematographic Imaginary: Subjugating Class to Nation6. The Empire of the Proletariat—Subjugating Nation to ClassConclusion: Social Rank in the Neoliberal EraAppendixGlossaryBibliographyIndex

"Cloé Drieu's meticulous and engaging monograph, deftly translated from the French by Adrian Morfee, treats the former period in Uzbekistan, the first of the five republics to establish a national film industry."—Russian Review

Cloé Drieu is Research Fellow at Centre National de la Recherche Scientifique (National Center of Scientific Research, Paris) in the Centre d'études turques, ottomanes, balkaniques et centrasiatiques (CETOBAC). She is editor of Ecrans d'Orient: propagande, innovation et résistance dans les cinéma de Turquie, d'Iran et d'Asie centrale (1897-1945).Adrian Morfee is Senior Lecturer in English Translation and Literature at University of Rennes, France.

• Note on TranscriptionsPrologueAcknowledgementsIntroductionPart 1: Decolonizing Central Asia: Film Structures and Representations (1919-1927)Turkestan Prior to the Birth of the USSR: Revolts and "Colonial Revolution"1. Cultural Autonomy and the Nation (1919-1924)2. Revolutionary Exoticism and the Colonial Imaginary—Cinema and Entertainment (1924-1927)Part 2: Cultural Revolution and Its Paradoxes: Nation, Modernity, and Empire (1927-1931)<\>"Cinematographic Cultural Revolution"3. The National Cinematographic Sphere 4. Uzbek Film and the Shift Towards Imperial DominationPart 3: The Paradoxes of the Nationalities Policy: Nationalism vs. Internationalism (1931-1937)Working as an Uzbek Artist under Stalin: Ambivalence, Resistance, and Nationalism5. The Nationalist Cinematographic Imaginary: Subjugating Class to Nation6. The Empire of the Proletariat—Subjugating Nation to ClassConclusion: Social Rank in the Neoliberal EraAppendixGlossaryBibliographyIndex

"Cloé Drieu's meticulous and engaging monograph, deftly translated from the French by Adrian Morfee, treats the former period in Uzbekistan, the first of the five republics to establish a national film industry."—Russian Review

Cloé Drieu is Research Fellow at Centre National de la Recherche Scientifique (National Center of Scientific Research, Paris) in the Centre d'études turques, ottomanes, balkaniques et centrasiatiques (CETOBAC). She is editor of Ecrans d'Orient: propagande, innovation et résistance dans les cinéma de Turquie, d'Iran et d'Asie centrale (1897-1945).Adrian Morfee is Senior Lecturer in English Translation and Literature at University of Rennes, France.

• Note on TranscriptionsPrologueAcknowledgementsIntroductionPart 1: Decolonizing Central Asia: Film Structures and Representations (1919-1927)Turkestan Prior to the Birth of the USSR: Revolts and "Colonial Revolution"1. Cultural Autonomy and the Nation (1919-1924)2. Revolutionary Exoticism and the Colonial Imaginary—Cinema and Entertainment (1924-1927)Part 2: Cultural Revolution and Its Paradoxes: Nation, Modernity, and Empire (1927-1931)<\>"Cinematographic Cultural Revolution"3. The National Cinematographic Sphere 4. Uzbek Film and the Shift Towards Imperial DominationPart 3: The Paradoxes of the Nationalities Policy: Nationalism vs. Internationalism (1931-1937)Working as an Uzbek Artist under Stalin: Ambivalence, Resistance, and Nationalism5. The Nationalist Cinematographic Imaginary: Subjugating Class to Nation6. The Empire of the Proletariat—Subjugating Nation to ClassConclusion: Social Rank in the Neoliberal EraAppendixGlossaryBibliographyIndex

"Cloé Drieu's meticulous and engaging monograph, deftly translated from the French by Adrian Morfee, treats the former period in Uzbekistan, the first of the five republics to establish a national film industry."—Russian Review