Bøker av Masha Salazkina

"In 1975 the Mexican melodrama Yesenia took the Soviet Union by storm to become the highest grossing film in the history of film exhibition there--to the anger of Russian elites. We rush to read Masha Salazkina's account to find out how we missed this important chapter in world film distribution history. The answer is that there is no such chapter because no other scholar in the field could pull off this international tour de force--an exhaustive cross-cultural analysis of a single melodrama, a continent-crossing that connects the telenovela tradition with Mexican Golden Age cinema as well as Soviet era melodrama. Salazkina tells us that we should have known that the contemporary 'global-popular' is not new, setting the bar high for another generation of multilingual world culture critics."--Jane M. Gaines, author of Pink-Slipped: What Happened to Women in the Silent Film Industry? "What does film history look like when we bypass the Global North? This is the historiographic provocation at the heart of Romancing 'Yesenia, ' a book that will serve as a model for transnational film histories to come. Salazkina moves with ease between Latin American studies and Russian and post-Soviet studies to reconstruct the unlikely global media circuit between Latin America and the Soviet Union. Offering an account of how the transculturation of the Latin American melodrama through the lens of Soviet vernacular culture produced a transnational affective space, Salazkina also challenges both the national allegorical readings of non-Western texts as well as the European literary and Hollywood film canon of melodrama studies."--Nilo Couret, author of Mock Classicism: Latin American Film Comedy, 1930-1960

"World Socialist Cinema narrates a film history beyond received canons, explicitly decentering and dewesternizing the way that we approach cinema's past. Masha Salazkina's scholarship is breathtaking, using hitherto unexplored archives and primary sources to complicate what we understand by terms like 'world cinema, ' 'global cinema, ' or 'cinemas of solidarity.' I know of nothing comparable."--Peter Limbrick, author of Arab Modernism as World Cinema: The Films of Moumen Smihi "Through the prism of the Tashkent Film Festival, this extraordinary study offers a kaleidoscopic view of what Salazkina terms 'world socialist cinema.' Deftly tessellating a dazzling array of institutions, films, languages, and geopolitical, formal, and theoretical questions, World Socialist Cinema is a field-changing book, and a model for future scholarship."--Alice Lovejoy, author of Army Film and the Avant Garde: Cinema and Experiment in the Czechoslovak Military