The order of the study follows the chronology of the social history of the Soviet Union, from the October Revolution of 1918 to the final days of perestroika in 1991. The chronological chapters are framed, however, with an introduction laying out the conceptual terminology used to describe the shifting ideological landscape of the book, the social groups appearing in the films analyzed, and the relations of film directors and other film makers to state power, as it was voiced by the instruments of censorship and ideological control.
For film students used to the aesthetic categories and philosophical assumptions of the West, the Shlapentokhs' book will provide a compelling new perspective. With its vast array of f hard-to-obtain source materials cited in the bibliography and filmography, this is a much-needed reference work for anyone interested in Soviet film making.
