Papers by Masha Salazkina
Iberoamericana Vervuert eBooks, Dec 31, 2022
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Sergei Eisenstein's Mexico
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Film History, 2018
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Remapping Cold War Media, eds. Alice Lovejoy and Mari Pajala , 2022
The chapter documents the cultural and political reception of Soviet cinema in post-revolutionary... more The chapter documents the cultural and political reception of Soviet cinema in post-revolutionary Cuba, placing it in the context of contemporary debates about socialist culture. It examines the way Cuban film institutions strategically employed highly self-conscious polemics on socialist realism as a way to navigate (geo)political pressures and maintain a degree of artistic and political independence. In demonstrating how global socialist media ecologies served as sites for the negotiation of multiple positions and ideologies, the chapter further complicates the assumption of bi-polarity as a governing logic of the Cold War era.
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MUBI Podcast Expanded
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Canadian Journal of Film Studies vol29 issue 2, 2020
Abstract: This article argues for the importance of a broader range of historical methodologies ... more Abstract: This article argues for the importance of a broader range of historical methodologies for changing the geographical contours of the discipline of film studies. As part of decolonizing the field, the article proposes further broadening the very category of cinema as an object of analysis; expanding what we consider legitimate modes of knowledge production to include those that originate beyond the Euro-American scholarly context as constitutive of, in particular, historiographic approaches; and, lastly, developing a syste-mic and relational understanding of the broader geographies that constitute such "world" histories, including a largely neglected historical geopolitical space between the former "Second" and "Third" worlds (the former Socialist Bloc and the Global South).
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An essay in the edited volume The Flying Carpet. Studies on Eisenstein and Russian Cinema in Hono... more An essay in the edited volume The Flying Carpet. Studies on Eisenstein and Russian Cinema in Honor of Naum Kleiman (eds. Joan Neubeger and Antonio Somaini). The full volume is uploaded with the editors' permission.
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Focusing on the cultural practices and policies of Cuba's ICAlC in the 1960 and 1970s, the essays... more Focusing on the cultural practices and policies of Cuba's ICAlC in the 1960 and 1970s, the essays explores the intellectual influences and negotiations that formed the New Latin American Cinema. Carefully unpacking the !ayers of intellectual influence, from Soviet theorists such as Vsevolod Pudovkin and well-known Italian theorists Umberto Barbaro and Guido Aristarco, the chapter presents a far more complicated scenario of intellectual and political confrontations and negotiations than had been acknowledged in the formation and social and political longevity of the ICAIC as the premier Cuban cultural institution.
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A chapter from The Emergence of Film Culture: Knowledge Production, Institution Building and the ... more A chapter from The Emergence of Film Culture: Knowledge Production, Institution Building and the Fate of the Avant-Garde in Europe, 1919-1945, ed. Malte Hagener. Berghahn Books, 2014.
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This essay centers on both the practices and theorization of translation as an emerging paradigm ... more This essay centers on both the practices and theorization of translation as an emerging paradigm for transnational film and media scholarship, and their implications to the institutional practices in the academy. The essay gives a brief overview of the current approaches to transnationalism in the field, moving from the discussion of multilingualism and translation practices understood as formative to the global circulatory networks of film and media, to a broader discussion of translation. Translation here is understood in two major ways. First, as a transcultural historical process foundational for our analysis of global modernity and knowledge production. Second, as a conceptual tool for overcoming the problems of flattening and homogenization implicit in many theories of globalization, and of the marginalization of area studies approaches to non-Western film and media as radically distinct alternatives to the European center. In conclusion, the essay suggests that emphasis on the translation processes and practices in film and media scholarship (both historical and theoretical) may help reorient the persistent institutional biases in film studies, which are still privileging the European and North American centers of knowledge production and the epistemological systems arising from such assumptions.
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An essay placing Eisenstein's Notes for a General History of Cinema in their institutional contex... more An essay placing Eisenstein's Notes for a General History of Cinema in their institutional context of the development of film education in the Soviet Union and Europe.
From the edited volume Sergei Eisenstein: Notes for a General History of Cinema, eds. Naum Kleiman and Antonio Somaini.
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This essay seeks to reconstruct the history of the first Tashkent Festival of Cinemas of Asia and... more This essay seeks to reconstruct the history of the first Tashkent Festival of Cinemas of Asia and Africa (1968). It offers an account of the festival and its place in the festival networks of the time as a highly heterogeneous and productive site for better understanding the complex relationship between the Soviet bloc and the Third World in the crucial moment between the victory of post-colonial independence movement and the end of the Cold War.
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The essay elaborates on the debate which took place between the Italian Marxist critic Guido Aris... more The essay elaborates on the debate which took place between the Italian Marxist critic Guido Aristarco and the Cuban filmmaker and theorist Julio García Espinosa during the Rencontres internationales pour un nouveau cinema, an event which took place in Montréal in 1974. The essay provides cultural and historical background to the theoretical and political disagreements, which surfaced during this encounter, emphasizing the importance of the legacy of the debates on socialist realism in Italy, as well as the shifting attitudes of the European Left towards Cuba in the course of the 1960s and 1970s. In conclusion, the essay addresses the domestic and international reception of the film which sparked the controversy in Montréal—Girón (Bay of Pigs, Manuel Herrera, 1972).
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This is an introduction to a special issue of Canadian Journal of Film Studies that seeks to reco... more This is an introduction to a special issue of Canadian Journal of Film Studies that seeks to reconstruct history of the Rencontres Internationales pour un Nouveau Cinéma, a conference on political cinema held in Montreal, Canada from June 2-8, 1974. The long list of participants included filmmakers, producers and film collectives from France; Latin American political filmmakers and representatives of burgeoning African cinema; film critics, historians, producers, and distributors from all over Europe and North America, including, of course, the Canadian organizers of the conference, André Pâquet and the Comité d'Action Cinématographique (CAC).
Given the number and diverse backgrounds of the participants, the Montreal conference could be considered the most important event in world political cinema of the period. However, despite its obvious importance to reconstructing the history of the international(ist) film movements of the 1960s and 70s, the meeting has been completely overlooked in scholarship.
This special issue seeks to rectify this omission by bringing together essays analyzing different aspects and geopolitical agendas which shaped this conference, basing its findings on the are audiovisual recordings of the talks, workshops and debates of the conference, which are currently archived at the Cinémathèque québécoise.
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Cinema Journal, 2012
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Papers by Masha Salazkina
From the edited volume Sergei Eisenstein: Notes for a General History of Cinema, eds. Naum Kleiman and Antonio Somaini.
Given the number and diverse backgrounds of the participants, the Montreal conference could be considered the most important event in world political cinema of the period. However, despite its obvious importance to reconstructing the history of the international(ist) film movements of the 1960s and 70s, the meeting has been completely overlooked in scholarship.
This special issue seeks to rectify this omission by bringing together essays analyzing different aspects and geopolitical agendas which shaped this conference, basing its findings on the are audiovisual recordings of the talks, workshops and debates of the conference, which are currently archived at the Cinémathèque québécoise.
From the edited volume Sergei Eisenstein: Notes for a General History of Cinema, eds. Naum Kleiman and Antonio Somaini.
Given the number and diverse backgrounds of the participants, the Montreal conference could be considered the most important event in world political cinema of the period. However, despite its obvious importance to reconstructing the history of the international(ist) film movements of the 1960s and 70s, the meeting has been completely overlooked in scholarship.
This special issue seeks to rectify this omission by bringing together essays analyzing different aspects and geopolitical agendas which shaped this conference, basing its findings on the are audiovisual recordings of the talks, workshops and debates of the conference, which are currently archived at the Cinémathèque québécoise.