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Not According to Plan is a history of Soviet filmmaking under Stalin (1930–1953). It addresses why the Stalin regime failed to construct a controlled propaganda cinema despite explicit intention to do so. Using new archival evidence, Belodubrovskaya shows that the Stalinist state was unsuccessful because its ideological ambitions undermined institutional reform and development. When choosing between the short-term goal of making film “masterpieces” and longer-term industrialization targeting mass production, Stalin and his policymakers consistently selected the former. The preference for quality films and Stalin’s intolerance of imperfection reinforced an artisanal, director-centered mode of production; exacerbated planning, screenwriting, and censorship dysfunction; created an entitled artistic workforce; and ultimately closed the door to a mass propaganda cinema. Not According to Plan challenges the notion that Stalin had authority over the arts and suggests that ideological control collapses in environments where artistry is rewarded.

The early Showa Era (1926-45), which roughly coincides with the Nazi years (1920-45) and Mussolini’s ‘venti anni’ (1921-43), is generally assumed to be a dogmatically and fanatically nationalist period, and due this putative monomania is often seen as a straightforward subject to study. To the contrary, this book reveals a very different picture of the Japanese popular media of this time period. The book examines the ways in which Japanese film and visual culture responded to the issues of the day, producing adaptations of Hollywood genre films; admiring pioneering film theories from Russia and Britain; and examining the techniques of German animation and Disney films. Importantly, the veneration of the emperor’s portrait photograph is a key to understand and contextualize the era’s media-scape. It is crucial to note that domestic film manifested the inherent promiscuity and transnationality of its medium. Japanese films did play a familiar role as propaganda, but because of their heterotopic aspects, the medium also negated, opposed, and undermined the ideologically and nationalistically defined demands of the wartime state. For other visual cultural media, too, careful examination reveals they were a site of contradictions of the dominant totalitarian discourse. (192 words)

The “New Hollywood” that emerged in the late sixties is now widely recognized as an era of remarkable filmmaking, when directors enjoyed a unique autonomy to craft ambitious, introspective movies that evinced a cinematic world of hard choices, complex interpersonal relationships, compromised heroes, and uncertain outcomes. The New Hollywood Revisited brings together a remarkable collection of authors (some of whom wrote about the New Hollywood as it unfolded), to revisit this unique era in American cinema (circa 1967-1976). It was a decade in which a number of extraordinary factors – including the end of a half-century-old censorship regime and economic and demographic changes to the American film audience – converged and created a new type of commercial film, imprinted with the social and political context of the times: the civil rights movement, the Vietnam War, the sexual revolution, women’s liberation, economic distress, urban decay, and, looming, the Shakespearean saga of the Nixon presidency. This volume offers the opportunity to look back, with nearly fifty years hindsight, at a golden age in American filmmaking.