Soviet Factography

Reality without Realism

Inbunden, Engelska, 2024

409 kr

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A study of Soviet factography, an avant-garde movement that employed photography, film, journalism, and mass media technologies. This is the first major English-language study of factography, an avant-garde movement of 1920s modernism. Devin Fore charts this style through the work of its key figures, illuminating factography’s position in the material culture of the early Soviet period and situating it as a precursor to the genre of documentary that arose in the 1930s. Factographers employed photography and film practices in their campaign to inscribe facts and to chronicle modernization as it transformed human experience and society. Fore considers factography in light of the period’s explosion of new media technologies—including radio broadcasting, sound in film, and photo-media innovations—that allowed the press to transform culture on a massive scale. This theoretically driven study uses material from Moscow archives and little-known sources to highlight factography as distinct from documentary and Socialist Realism and to establish it as one of the major twentieth-century avant-garde forms. Fore covers works of photography, film, literature, and journalism together in his considerations of Soviet culture, the interwar avant-gardes, aesthetics, and the theory of documentary.

Produktinformation

Utgivningsdatum2024-09-25
Mått178 x 254 x 25 mm
Vikt993 g
FormatInbunden
SpråkEngelska
Antal sidor320
FörlagThe University of Chicago Press
ISBN9780226234861

Tillhör följande kategorier

Konsthistoria inom Kultur
Medievetenskap inom Samhälle och politik
Fotoböcker inom Kultur

"[Fore reveals] a fascinating array of original strategies to record a world turned upside down. We follow all manner of 'factographic' authors and artists (writer Sergei Tret’iakov and filmmaker Dziga Vertov are only the best known) as they scramble to register the revolution as immediately as possible. . . . This riveting study of 'reality in revolution' pressures our understanding of both terms; it also shows us how a reordering of any society involves a refashioning of its individuals. . . . Fore thus reclaims a lost period of tremendous innovation, which renders Soviet Factography an important intervention in our own present as well: Its recovery of documentary practices counts as an indirect riposte to the purveyors of disinformation today."