The Director-Centered Mode of Production and the Tradition of Quality
Chapter Three discusses the implications of the director-centered mode of film production and suggests why entrusting self-governance and self-censorship to a select group of director-masters was counterproductive. The Soviet film industry did not have producers, and only directors had the creative and technical expertise to make films. This unique expertise, which was hard to replicate, as well as their status as “engineers of human souls,” put Soviet film directors in a formidable position vis-à-vis the party-state. Moreover, most of them were not propagandists, but artists, and their professional agenda was never entirely subsumed by Stalinism.
Cornell Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.