{"product_id":"soviet-spectatorship","title":"Soviet Spectatorship","description":"\u003cp\u003e\u003cb\u003eWhat distinguished the Soviet 'look'? How did Soviet thinkers and artists reimagine the relationship between observer and observed? \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eSoviet Spectatorship \u003c\/i\u003eanswers these questions through an in depth exploration of Soviet physical culture and its on screen representations from the end of the Civil War to the eve of the Second World War. Samuel Goff identifies the three fundamental ‘structures of looking’ — surveillance, aesthetics, and spectatorship — that shaped representations of the embodied Soviet subject. \u003cbr\u003e\u003cbr\u003eClose readings of understudied films such as \u003ci\u003eHappy Finish\u003c\/i\u003e (1934), \u003ci\u003eThe Laurels of Miss Ellen Gray\u003c\/i\u003e (1935) and \u003ci\u003eA Strict Young Man\u003c\/i\u003e (1936), are contextualised through a theoretical analysis of the relationship between subjectivity and the body. In doing so, Goff traces the evolution of a specific Soviet 'look', examining perspectives on Soviet aesthetics and theories of body and mind, uncovering continuities within Soviet visual cultures in a period usually understood in terms of discontinuity and rupture.\u003c\/p\u003e","brand":"Bloomsbury Publishing PLC","offers":[{"title":"Default Title","offer_id":55807157928280,"sku":"9781350411203","price":36.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0278\/1295\/4195\/files\/9781350411203.jpg?v=1778735750","url":"https:\/\/agendabookshop.com\/products\/soviet-spectatorship","provider":"Agenda Bookshop","version":"1.0","type":"link"}