Sound, Speech, Music in Soviet and Post-Soviet Cinema

SUMARIO. Nikolai Izvolov // Silents, sound, and modernism in Dmitry Shostakovich's score to The new Babylon ; Joan Titus / To catch up and overtake Hollywood : early talking pictures in the Soviet Union ; Valérie Pozner / ARRK and the Soviet transition to sound ; Natalie Ryabchikova / Making sense without speech : the use of silence in early Soviet sound film ; Emma Widdis / The problem of heteroglossia in early Soviet sound cinema (1930-35) ; Evgeny Margolit / Challenging the voice of God in World War II-era Soviet documentaries ; Jeremy Hicks / Vocal changes : Marlon Brando, Innokenty Smoktunovsky, and the sound of the 1950s ; Oksana Bulgakowa / Listening to the inaudible foreign : simultaneous translators and Soviet experience of foreign cinema ; Elena Razlogova / Kinomuzyka : theorizing Soviet film music in the 1930s ; Kevin Bartig / Listening to Muzykal'naia istoriia (1940) ; Anna Nisnevich / The music of landscape : Eisenstein, Prokofiev, and the uses of music in Ivan the Terrible ; Joan Neuberger / The full illusion of reality : repentance, polystylism, and the late Soviet soundscape ; Peter Schmelz / Russian rock on Soviet bones ; Lilya Kaganovsky.