Kevin Bartig is Assistant Professor of Musicology at Michigan State University.

• Acknowledgements ; Editorial Matters ; Abbreviations ; Introduction ; Chapter 1. New Media, New Means: Lieutenant Kizhe, 1932-34 ; Chapter 2. The Queen of Spades, The 1937 Pushkin Jubilee, and Repatriation ; Chapter 3. The Year 1938: Halcyon Days in Hollywood and an Unanticipated Collaboration ; Chapter 4. Alexander Nevsky and the Stalinist Museum ; Chapter 5. The Wartime Films, 1940-43 ; Chapter 6. Ivan the Terrible and the Russian National Tradition ; Epilogue ; Appendix ; Works cited ; Index

A long-awaited, much-needed contribution to Prokofiev studies and Soviet cinema history. In Kevin Bartig's account, Alexander Nevsky, a showcase score of enduring appeal, becomes utterly fresh, and Ivan the Terrible even more compellingly bizarre. Highlights include a meticulous chronicle of the unfinished film The Queen of Spades, one of the great might-have-beens in the Soviet canon. Bartig also makes the case for the commercial (or at least educational) release of Tonya, a propagandistic film of modest musical appeal, while also filling in details of Prokofiev's service to Soviet power during the Second World War.

Kevin Bartig is Assistant Professor of Musicology at Michigan State University.

• Acknowledgements ; Editorial Matters ; Abbreviations ; Introduction ; Chapter 1. New Media, New Means: Lieutenant Kizhe, 1932-34 ; Chapter 2. The Queen of Spades, The 1937 Pushkin Jubilee, and Repatriation ; Chapter 3. The Year 1938: Halcyon Days in Hollywood and an Unanticipated Collaboration ; Chapter 4. Alexander Nevsky and the Stalinist Museum ; Chapter 5. The Wartime Films, 1940-43 ; Chapter 6. Ivan the Terrible and the Russian National Tradition ; Epilogue ; Appendix ; Works cited ; Index

A long-awaited, much-needed contribution to Prokofiev studies and Soviet cinema history. In Kevin Bartig's account, Alexander Nevsky, a showcase score of enduring appeal, becomes utterly fresh, and Ivan the Terrible even more compellingly bizarre. Highlights include a meticulous chronicle of the unfinished film The Queen of Spades, one of the great might-have-beens in the Soviet canon. Bartig also makes the case for the commercial (or at least educational) release of Tonya, a propagandistic film of modest musical appeal, while also filling in details of Prokofiev's service to Soviet power during the Second World War.

Kevin Bartig is Assistant Professor of Musicology at Michigan State University.

• Acknowledgements ; Editorial Matters ; Abbreviations ; Introduction ; Chapter 1. New Media, New Means: Lieutenant Kizhe, 1932-34 ; Chapter 2. The Queen of Spades, The 1937 Pushkin Jubilee, and Repatriation ; Chapter 3. The Year 1938: Halcyon Days in Hollywood and an Unanticipated Collaboration ; Chapter 4. Alexander Nevsky and the Stalinist Museum ; Chapter 5. The Wartime Films, 1940-43 ; Chapter 6. Ivan the Terrible and the Russian National Tradition ; Epilogue ; Appendix ; Works cited ; Index

A long-awaited, much-needed contribution to Prokofiev studies and Soviet cinema history. In Kevin Bartig's account, Alexander Nevsky, a showcase score of enduring appeal, becomes utterly fresh, and Ivan the Terrible even more compellingly bizarre. Highlights include a meticulous chronicle of the unfinished film The Queen of Spades, one of the great might-have-beens in the Soviet canon. Bartig also makes the case for the commercial (or at least educational) release of Tonya, a propagandistic film of modest musical appeal, while also filling in details of Prokofiev's service to Soviet power during the Second World War.