[1]
Evtuhov, Catherine, Goldfrank, David M., Hughes, Lindsey, and Stites, Richard, A history of Russia: peoples, legends, events, forces. Boston: Houghton Mifflin, 2004.
[2]
Suny, Ronald Grigor, The Soviet experiment: Russia, the USSR, and the successor states, 2nd ed. New York: Oxford University Press, 2011.
[3]
P. Kenez, ‘Introduction: the Soviet concept of propaganda’, in The birth of the propaganda state: Soviet methods of mass mobilization, 1917-1929, Cambridge: Cambridge University Press, 1985, pp. 1–17.
[4]
Stites, Richard, Revolutionary dreams: utopian vision and experimental life in the Russian Revolution. New York: Oxford University Press, 1989.
[5]
Mally, Lynn, Culture of the future: the Prolekult movement in revolutionary Russia, vol. Studies on the history of society and culture. Berkeley, [Calif.] ; Oxford: University of California Press, 1990.
[6]
Trotsky, Leon, Literature and revolution. London: RedWords, 1991 [Online]. Available: http://www.marxists.org/archive/trotsky/1924/lit_revo/index.htm
[7]
Evtuhov, Catherine, Goldfrank, David M., Hughes, Lindsey, and Stites, Richard, A history of Russia: peoples, legends, events, forces. Boston: Houghton Mifflin, 2004.
[8]
Suny, Ronald Grigor, The Soviet experiment: Russia, the USSR, and the successor states, 2nd ed. New York: Oxford University Press, 2011.
[9]
K. Clark, ‘Petrograd: Ritual Capital of the Revolution’, in Petersburg, crucible of cultural revolution, Cambridge, MA ; London: Harvard University Press, 1995, pp. 122–142.
[10]
J. Geldern, ‘Putting the Masses in Mass Culture: Bolshevik Festivals, 1918-1920’, The Journal of Popular Culture, vol. 31, no. 4, pp. 123–144, Mar. 1998, doi: 10.1111/j.0022-3840.1998.3104_123.x.
[11]
L. Mally, ‘The revolution loves the theater’, in Revolutionary acts: amateur theater and the Soviet state, 1917-1938, Ithaca: Cornell University Press, 2000, pp. 17–46.
[12]
Evtuhov, Catherine, Goldfrank, David M., Hughes, Lindsey, and Stites, Richard, A history of Russia: peoples, legends, events, forces. Boston: Houghton Mifflin, 2004.
[13]
Suny, Ronald Grigor, The Soviet experiment: Russia, the USSR, and the successor states, 2nd ed. New York: Oxford University Press, 2011.
[14]
A. E. Gorsuch, ‘“NEP be Damned! Young Militants in the 1920s and the Culture of Civil War”’, Russian Review, vol. 56, no. 4, pp. 564–580, 1997.
[15]
A. Nelson, ‘Of “cast-off barroom garbage” and “bold revolutionary songs”: the problem of popular music, 1923-1926’, in Music for the revolution: musicians and power in early Soviet Russia, University Park, Penna: Pennsylvania State University Press, 2004, pp. 95–124 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=a9082f92-6775-e811-80cd-005056af4099
[16]
J. Brooks, ‘The press and its message: images of America in the 1920s and 1930s’, in Russia in the era of NEP: explorations in Soviet society and culture, vol. Indiana-Michigan series in Russian and East European studies, Bloomington: Indiana University Press, 1991, pp. 231–252.
[17]
Christie, Ian and Taylor, Richard, The film factory: Russian and Soviet cinema in documents. London: Routledge, 1994 [Online]. Available: https://doi.org/10.4324/9780203059920
[18]
S. Lovell, ‘How Russia Learned to Listen: Radio and the Making of Soviet Culture’, Kritika: Explorations in Russian and Eurasian History, vol. 12, no. 3, pp. 591–615, 2011, doi: 10.1353/kri.2011.0040.
[19]
S. Feldman, ‘Peace between man and machine: Dziga Vertov’s “The man with a movie camera”’, in Documenting the documentary: close readings of documentary film and video, vol. Contemporary film and television series, Detroit: Wayne State University Press, 1998, pp. 40–54.
[20]
Suny, Ronald Grigor, The Soviet experiment: Russia, the USSR, and the successor states, 2nd ed. New York: Oxford University Press, 2011.
[21]
Evtuhov, Catherine, Goldfrank, David M., Hughes, Lindsey, and Stites, Richard, A history of Russia: peoples, legends, events, forces. Boston: Houghton Mifflin, 2004.
[22]
E. Dobrenko, ‘The disaster of middlebrow taste, or, who “invented” socialist realism?’, in Socialist realism without shores, vol. Post-contemporary interventions, Durham [N.C.]: Duke University Press, 1997, pp. 135–164.
[23]
K. Clark, ‘The return of the aesthetic’, in Moscow, the fourth Rome: Stalinism, cosmopolitanism, and the evolution of Soviet culture, 1931-1941, Cambridge, Mass: Harvard University Press, 2011, pp. 105–135.
[24]
Evtuhov, Catherine, Goldfrank, David M., Hughes, Lindsey, and Stites, Richard, A history of Russia: peoples, legends, events, forces. Boston: Houghton Mifflin, 2004.
[25]
Suny, Ronald Grigor, The Soviet experiment: Russia, the USSR, and the successor states, 2nd ed. New York: Oxford University Press, 2011.
[26]
‘The radiant path’. [Online]. Available: http://www.youtube.com/watch?v=6UlFRML2lGU
[27]
Altman, Rick, Genre, the musical: a reader, vol. British Film Institute readers in film studies. London: Routledge & Kegan Paul in association with the British Film Institute, 1981.
[28]
R. Taylor, ‘Ideology as Mass Entertainment: Boris Shumyatsky and Soviet Cinema in the 1930s’, in Inside the Film Factory, Routledge, 1991, pp. 193–216 [Online]. Available: https://www.taylorfrancis.com/books/9780203992784
[29]
Enzensberger, Maria, ‘“We were born to turn a fairy tale into reality”: Grigori Alexandrov’s The Radiant Path’, in Stalinism and Soviet cinema, vol. Soviet cinema, London: Routledge, 1993, pp. 97–108.
[30]
T. Lahusen, ‘From laughter “out of sync” to post-synchronized comedy: how the Stalinist film musical caught up with Hollywood and overtook it’, in Socialist cultures East and West: a post-Cold War reassessment, Westport, Conn: Praeger, 2002, pp. 31–42.
[31]
Evtuhov, Catherine, Goldfrank, David M., Hughes, Lindsey, and Stites, Richard, A history of Russia: peoples, legends, events, forces. Boston: Houghton Mifflin, 2004.
[32]
Suny, Ronald Grigor, The Soviet experiment: Russia, the USSR, and the successor states, 2nd ed. New York: Oxford University Press, 2011.
[33]
D. Northrop, ‘Hujum, 1927’, in Veiled empire: gender & power in Stalinist Central Asia, 1st ed., Ithaca: Cornell University Press, 2004, pp. 69–101.
[34]
F. Hirsch, ‘’Getting to Know “The People of the USSR”: Ethnographic Exhibits as Soviet Virtual Tourism, 1923-1934’, Slavic Review, vol. 4, no. 62, pp. 683–709.
[35]
Martin, Terry, ‘Modernization or neo-traditionalism? Ascribed nationality and soviet primordialism’, in Russian modernity: politics, knowledge, practices, Basingstoke: Macmillan, 2000, pp. 161–182.
[36]
Suny, Ronald Grigor, The Soviet experiment: Russia, the USSR, and the successor states, 2nd ed. New York: Oxford University Press, 2011.
[37]
D. Brandenberger and A. M. Dubrovsky, ‘“The people need a Tsar”: the Emergence of National Bolshevism as Stalinist Ideology, 1931-1941’, Europe-Asia Studies, vol. 5, no. 50, pp. 871–890, 1998.
[38]
K. M. F. Platt and D. Brandenberger, ‘Terribly Romantic, Terribly Progressive, or Terribly Tragic: Rehabilitating Ivan IV under I.V. Stalin’, Russian Review, vol. 58, no. 4, pp. 635–654, Oct. 1999, doi: 10.1111/0036-0341.00098.
[39]
D. L. Hoffmann, ‘Social and cultural unity under Soviet socialism’, in Stalinist values: the cultural norms of Soviet modernity, 1917-1941, Ithaca: Cornell University Press, 2003, pp. 146–183.
[40]
Evtuhov, Catherine, Goldfrank, David M., Hughes, Lindsey, and Stites, Richard, A history of Russia: peoples, legends, events, forces. Boston: Houghton Mifflin, 2004.
[41]
Suny, Ronald Grigor, The Soviet experiment: Russia, the USSR, and the successor states, 2nd ed. New York: Oxford University Press, 2011.
[42]
L. Kirshchenbaum, ‘“‘Our City, Our Hearths, Our Families’: Local Loyalties and Private Life in Soviet World War II Propaganda”’, Slavic Review, vol. 4, no. 59, pp. 825–847, 2000 [Online]. Available: http://www.jstor.org/stable/pdfplus/2697421.pdf
[43]
J. Brooks, ‘Pravda goes to war’, in Culture and entertainment in wartime Russia, Bloomington: Indiana University Press, 1995, pp. 9–27.
[44]
S. Ament, ‘Reflecting individual and collective identities: songs of World War II’, in Gender and national identity in twentieth-century Russian culture, 1st ed., DeKalb, IL: Northern Illinois University Press, 2006, pp. 115–130.
[45]
Von Geldern, James and Stites, Richard, Mass culture in Soviet Russia: tales, poems, songs, movies, plays, and folklore, 1917-1953. Bloomington: Indiana University Press, 1995 [Online]. Available: https://www-jstor-org.libproxy.ucl.ac.uk/stable/j.ctt16xwcdw
[46]
V. E. Bonnell, ‘The leader’s two bodies: iconography of the Vozhd’’, in Iconography of power: Soviet political posters under Lenin and Stalin, vol. Studies on the history of society and culture, Berkeley ; London: University of California Press, 1997, pp. 137–185 [Online]. Available: https://www.fulcrum.org/concern/monographs/qf85nb67v
[47]
B. Apor, E. A. Rees, J. C. Behrends, and P. Jones, The leader cult in communist dictatorships: Stalin and the Eastern Bloc. Basingstoke: Palgrave Macmillan, 2004.
[48]
Furst, Juliane, Stalin’s last generation: Soviet post-war youth and the emergence of mature socialism. Oxford: Oxford University Press, 2010.
[49]
T. Johnston, ‘Subversive Styles? Official Soviet Cultural Identity in the late-Stalin years 1945–1953’, in Being SovietIdentity, Rumour, and Everyday Life under Stalin 1939–1953, Oxford University Press, 2011, pp. 167–208 [Online]. Available: http://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780199604036.001.0001/acprof-9780199604036-chapter-5
[50]
S. E. Reid, ‘Cold War in the Kitchen: Gender and the De-Stalinization of Consumer Taste in the Soviet Union under Khrushchev’, Slavic Review, vol. 61, no. 2, Summer 2002, doi: 10.2307/2697116.
[51]
D. A. (Denis A. Kozlov, ‘“I Have Not Read, but I Will Say”: Soviet Literary Audiences and Changing Ideas of Social Membership, 1958-66’, Kritika: Explorations in Russian and Eurasian History, vol. 7, no. 3, pp. 557–597, 2006, doi: 10.1353/kri.2006.0039.
[52]
Eleonory Gilburd, ‘Picasso in thaw culture’, Cahiers du Monde russe, vol. 47, no. 1–2, pp. 65–108 [Online]. Available: http://www.jstor.org/stable/info/20174991
[53]
Juliane Furst, ‘Friends in private, friends in public’, in Borders of socialism: private spheres of Soviet Russia, Basingstoke: Palgrave Macmillan, 2006, pp. 229–249 [Online]. Available: https://link.springer.com/chapter/10.1007/978-1-4039-8454-8_12
[54]
Jones, Polly, Susan E. Reid, ‘Modernizing Socialist Realism in the Khrushchev Thaw: The Struggle for a "Contemporary Style” in Soviet Art’, in The dilemmas of de-Stalinization: negotiating cultural and social change in the Khrushchev era, vol. BASEES/Routledge series on Russian and East European studies. Abingdon, Oxon: Routledge, 2006.
[55]
K. Roth-Ey, ‘Finding a home for television in the USSR, - ’, Slavic Review, vol. 66, no. 2, 2007 [Online]. Available: http://www.jstor.org/stable/pdfplus/20060221.pdf
[56]
C. Varga-Harris, ‘Homemaking and the Aesthetic and Moral Perimeters of the Soviet Home During the Khrushchev Era’, Journal of Social History, vol. 41, no. 3, pp. 561–589, Mar. 2008, doi: 10.1353/jsh.2008.0051.
[57]
L. Spigel, ‘Installing the Television Set: Popular Discourses on Television and Domestic Space, 1948-1955’, Camera Obscura: Feminism, Culture, and Media Studies, vol. 6, no. 1 16, pp. 9–46, Jan. 1988, doi: 10.1215/02705346-6-1_16-9.
[58]
Brudny, Yitzhak M., ‘Ch. 2: The emergence of politics by culture 1952-1964’, in Reinventing Russia: Russian nationalism and the Soviet state, 1953-1991, vol. Russian Research Center studies, Cambridge, Mass: Harvard University Press, 1998, pp. 28–56.
[59]
Solzhenit͡syn, Aleksandr Isaevich, ‘Matryona’s home’, in The Solzhenitsyn reader: new and essential writings, 1947-2005, 1st pbk. ed., Wilmington, DE: ISI Books, 2009, pp. 24–56.
[60]
K. Parthé, ‘Images of rural transformation in Russian village prose’, Studies in Comparative Communism, vol. 23, no. 2, pp. 161–175, Jun. 1990, doi: 10.1016/0039-3592(90)90037-M.
[61]
Roth-Ey, Kristin, ‘The new soviet movie culture’, in Moscow prime time: how the Soviet Union built the media empire that lost the cultural Cold War, Ithaca: Cornell University Press, 2011, pp. 71–130.
[62]
N. Tumarkin, ‘No one is forgotten, nothing is forgotten’, in The living & the dead : the rise and fall of the cult of World War II in Russia - University College London, New York: Basic Books, 1994, pp. 125–157 [Online]. Available: https://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb05302.0001.001
[63]
Lisa Kirschenbaum, ‘Heroes & victims’, in The legacy of the Siege of Leningrad, 1941-1995: myth, memories, and monuments, New York: Cambridge University Press, 2006, pp. 186–228.
[64]
J. M. Daughtry, ‘“Sonic Samizdat”: Situating Unofficial Recording in the Post-Stalinist Soviet Union’, Poetics Today, vol. 30, no. 1, pp. 27–65, Mar. 2009, doi: 10.1215/03335372-2008-002.
[65]
A. Yurchak, ‘True Colors of Communism : King Crimson, Deep Purple, Pink Floyd’, in Everything was forever, until it was no more: the last Soviet generation, Princeton, NJ: Princeton University Press, 2006, pp. 207–237 [Online]. Available: https://www.jstor.org/stable/j.ctt3fgx18.9?refreqid=excelsior%3A9ef8e487bc20b2ed316492685362424a&seq=1#page_scan_tab_contents
[66]
A. Yurchak, ‘Suspending the Political: Late Soviet Artistic Experiments on the Margins of the State’, Poetics Today, vol. 29, no. 4, pp. 713–733, Dec. 2008, doi: 10.1215/03335372-082.
[67]
Kotkin, Stephen, ‘Glasnost: a city newspaper rises, a theater declines’, in Steeltown, USSR: Soviet society in the Gorbachev era, Berkeley: University of California Press, 1991, pp. 39–75.
