In How the Soviet Man Was Unmade, Lilya Kaganovsky exposes the paradox behind the myth of the indestructible Stalinist-era male. In her analysis of socialist-realist literature and cinema, she examines the recurring theme of the mutilated male body, which appears with startling frequency. Kaganovsky views this representation as a thinly veiled statement about the emasculated male condition during the Stalinist era. Forever limited in what he could achieve, the New Man would remain subservient to Stalin and the party.
Kaganovsky provides an insightful reevaluation of classic works of the period, including the novels of Nikolai Ostrovskii (How Steel Was Tempered) and Boris Polevoi (A Story About a Real Man), and films by Ivan Pyr'ev (The Party Card), Eduard Pentslin (The Fighter Pilots), and Mikhail Chiaureli (The Fall of Berlin), among others. The symbolism of wounding and dismemberment in these works acts as a fissure in the facade of Stalinist cultural production through which we can view the consequences of historic and political trauma.
About the Author:
Lilya Kaganovsky is assistant professor of Slavic, comparative literature, and cinema studies at the University of Illinois
About the Author
Lilya Kaganovsky is assistant professor of Slavic, comparative literature, and cinema studies at the University of Illinois.
Table of Contents
Introduction: "Bodies That Matter" 1
How the Soviet Man Was (Un)Made 19
Visual Pleasure in Stalinist Cinema 42
Heterosexual Panic 67
What Does Woman Want? 119
Epilogue: "Female Masculinity" 154