Soviet Spectatorship: Observing the Body in Physical and Visual Culture

The Soviet look was characterized by surveillance, aesthetics, and spectatorship, with close readings of understudied films contextualized through a theoretical analysis of the relationship between subjectivity and the body. Samuel Goff traces the evolution of a specific Soviet look, examining perspectives on Soviet aesthetics and theories of body and mind, uncovering continuities within Soviet visual cultures in a period usually understood in terms of discontinuity and rupture.

Format: Hardback
Length: 264 pages
Publication date: 05 September 2024
Publisher: Bloomsbury Publishing PLC

Soviet Spectatorship: Unveiling the Distinctive Soviet Look and Reimagining Observer-Observed Relationships
Soviet Spectatorship delves into the unique visual culture of the Soviet era, exploring how Soviet thinkers and artists reimagined the relationship between observer and observed. Through an in-depth examination of Soviet physical culture and its on-screen representations from the end of the Civil War to the eve of the Second World War, Samuel Goff identifies three fundamental structures of looking: surveillance, aesthetics, and spectatorship. These structures shaped representations of the embodied Soviet subject and were closely intertwined with the evolving concept of subjectivity and the body.

Close readings of understudied films such as Happy Finish (1934), The Laurels of Miss Ellen Gray (1935), and A Strict Young Man (1936) are contextualized through a theoretical analysis of the relationship between subjectivity and the body. Goff traces the evolution of a specific Soviet look, examining perspectives on Soviet aesthetics and theories of body and mind, uncovering continuities within Soviet visual cultures in a period usually understood in terms of discontinuity and rupture.

One of the key aspects of Soviet Spectatorship is its exploration of the role of surveillance in shaping representations of the Soviet subject. Goff argues that surveillance was not simply a tool of repression but also a means of creating a sense of community and belonging. Surveillance was used to monitor the behavior of individuals and groups, but it also served as a way to promote social and political ideals. For example, the Soviet government used surveillance to monitor the activities of workers and peasants, ensuring that they were working hard and contributing to the socialist cause.

However, surveillance also had its negative consequences. Goff notes that surveillance was often used to control and manipulate individuals, and it could lead to a sense of fear and anxiety. This was particularly true during the Stalinist era, when the government used surveillance to suppress dissent and to control the arts.

Aesthetics was another fundamental structure of looking in the Soviet era. Goff argues that Soviet aesthetics were characterized by a focus on the everyday and the ordinary. Soviet artists sought to create works that were accessible to a wide range of people, and they often used simple, straightforward forms and colors. This aesthetic was influenced by the Soviet Union's socialist ideology, which emphasized the importance of collective ownership and the elimination of class distinctions.

However, Soviet aesthetics also had its limitations. Goff notes that Soviet artists were often limited by the government's censorship and control over the arts. This led to a lack of innovation and creativity, and it also contributed to the stagnation of Soviet visual cultures in the later years of the Soviet Union.

Spectatorship was another important structure of looking in the Soviet era. Goff argues that Soviet spectatorship was characterized by a sense of collective participation and engagement. Soviet films were designed to be watched by large audiences, and they often included elements that encouraged audience participation, such as sing-alongs and interactive sequences. This sense of spectatorship was also influenced by the Soviet Union's socialist ideology, which emphasized the importance of collective ownership and the elimination of class distinctions.

However, Soviet spectatorship also had its limitations. Goff notes that Soviet films were often criticized for their lack of artistic merit and their reliance on propaganda. This led to a decline in the popularity of Soviet films in the West, and it also contributed to the stagnation of Soviet visual cultures in the later years of the Soviet Union.

In conclusion, Soviet Spectatorship is a fascinating and insightful book that explores the unique visual culture of the Soviet era. Through an in-depth examination of Soviet physical culture and its on-screen representations, Samuel Goff identifies three fundamental structures of looking: surveillance, aesthetics, and spectatorship. These structures shaped representations of the embodied Soviet subject and were closely intertwined with the evolving concept of subjectivity and the body. Goff's book is a valuable contribution to the field of Soviet studies, and it will be of interest to scholars and students of Soviet history, culture, and art.

Dimension: 216 x 138 (mm)
ISBN-13: 9781350411166