Сталин и Гитлер

113. Turovskaya, The 1930s and 1940s’, p. 42; Hollander, Soviet Political Indoctrination, pp. 214–15; Inkeles, Public Opinion, pp. 301–3.

114. Turovskaya, The 1930s and 1940s’, pp. 43, 45.

115. P. Kenez ‘Soviet cinema in the age of Stalin’, in Taylor and Spring Stalinism and Soviet Cinema, pp. 56–7, 61; Turovskaya,

The 1930s and 1940s’, p. 42; R. Taylor ‘Red stars, positive heroes and personality cults’, in Taylor and Spring, Stalinism and Soviet Cinema, p. 95.

116. Turovskaya, ‘The 1930s and 1940s’, p. 51.

117. Moritz, ‘Film Censorship’, p. 188; Taylor, Film Propaganda, pp. 145, 151; Welch, Propaganda and the German Cinema, p. 43.

118. Welch, Propaganda and the German Cinema, pp. 31, 35.

119. D. Welch ‘Nazi Film Policy: Control, Ideology, and Propaganda’, in Cuomo, National Socialist Cultural Policy, p. 113; Welch, Propaganda and the German Cinema, p. 14.

120. S. Hake Popular Cinema of the Third Reich (Austin, Tex., 2001), pp. 130–31; Moritz, ‘Film Censorship’, pp. 186–7.

121. S. Kracauer From Caligari to Hitler: a Psychological History of the German Film (Princeton, NJ, 1974), pp. 269–70.

122. E. Khokhlova ‘Forbidden fi lms of the 1930s’, in Taylor and Spring, Stalinism and Soviet Cinema, p. 94.

123. J. Haynes New Soviet Man: Gender and Masculinity in Stalinist Soviet Cinema (Manchester, 2003), p. 52; L. Attwood ‘The Stalin Era’, in Attwood (ed.) Red Women on the Silver Screen: Soviet Women and Cinema from the beginning to the end of the Communist era (London, 1993), pp. 57–8.

124. Attwood, ‘Stalin Era’, p. 65; M. Enzensberger ‘“We were born to turn a fairy tale into reality”: Grigori Alexandrov’s The Radiant Path’, in Taylor and Spring, Stalinism and Soviet Cinema, pp. 97–108.

125. Welch, ‘Nazi Film Policy’, p. 109.

126. Hake, Popular Cinema of the Third Reich, pp. 192–9.

127. Kracauer, Caligari to Hitler, pp. 255–6.

128. Stites, Russian Popular Culture, pp. 73–9; Hollander, Soviet Political Indoctrination, pp. 214–15.

129. Marsh, Images of Dictatorship, pp. 27–8.

130. F. J. Miller Folklore for Stalin: Russian Folklore and Pseudofolklore of the Stalin Era (New York, 1990), p. 7.

131. Miller, Folklore for Stalin, pp. 69, 71; R. Robin ‘Stalin and Popular Culture’, in H. Günther (ed.) The Culture of the Stalin Period (London, 1990), p. 29.

132. L. Mally ‘Autonomous Theatre and the Origins of Socialist Realism: the 1932 Olympiad of Autonomour Art’, Russian Review, 52 (1993), pp. 198–211; see too Lebedeva, ‘Soviet Culture of the 1930s’, pp. 68–76, 83–5.

133. J. Macleod The New Soviet Theatre (London, 1943), pp. 53–7, 65.

134. Taylor, Literature and Society, pp. 246–61.

135. W. Niven ‘The Birth of Nazi Drama’, in London (ed.), Theatre under the Nazis, pp. 54–5.

136. E. Levi ‘Opera in the Nazi Period’, in London (ed.), Theatre under the Nazis, pp. 62–73; see too R. Stommer ‘“Da oben versinkt einem der Alltag…”: Thingstätten im Dritten Reich als Demonstration der Volksgemeinschaftsideologie’, in D. Peukert and J. Reulecke (eds) Die Reihen fast Geschlossen: Beiträge zur Geschichte des Alltags unterm Nationalsozialismus (Wuppertal, 1981), pp. 154 ff.

137. B. Drewniak ‘The Foundations of Theater Policy in Nazi Germany’, in Cuomo, National Socialist Cultural Policy, pp. 68, 82–3; Stommer, ‘Thingstätten im Dritten Reich’, pp. 170–72.

138. Brecht, Poems, p. 299. On Benjamin see B. Taylor and W. van der Will ‘Aesthetics and National Socialism’, in Taylor and van der Will, Nazifi cation of Art, p. 11. On the role of aesthetics in politics see P. Reidel ‘Aspekte ästhetischer Politik im NS-Staat’? in Hermann and Nassen, Formative Ästhetik, pp. 14–21; P. Labanyi ‘Images of Fascism: Visualization and Aes-theticization in the Third Reich’, in M. Lafann (ed.) The Burden of German History: 1919–1945 (London, 1988), pp. 156–60, 170–72. See too S. Behrenbeck Der Kult um die toten Helden: nationalsozialistische Mythen, Riten und Symbole (Vierow bei Greifswald, 1996).

139. Labanyi, ‘Images of Fascism’, p. 169.

140. Spotts, Hitler and the Power of Aesthetics, pp. 100–101.

141. A. Speer Inside the Third Reich: Memoirs (London, 1970), pp. 58–9.

142. H. T. Burden The Nuremberg Party Rallies: 1923–39 (London, 1967), pp. 138–43.

143. Baird, To Die for Germany, pp. 58–6.

144. Baird, To Die for Germany, pp. 62–5.

145. S. I. Luck Observation in Russia (London, 1938), pp. 30–39.

146. Luck, Observation in Russia, p. 33.

147. R. Sartorti ‘Stalinism and Carnival: Organisation and Aesthetics of Political Holidays’, in Günther, Culture of the Stalin Period, pp. 49–50.

148. Sartorti, ‘Stalinism and Carnival’, pp. 58, 71.

149. Brecht, Poems, p. 299.

150. V. Garros, N. Korenevskaya and T. Lahusen (eds) Intimacy and Terror: Soviet Diaries of the 1930s (New York, 1995), pp. 181–2, diary of Galina Shtange, 25 December 1936.

151. Garros et aL, Intimacy and Terror, pp. 183, 191, Shtange diary, 25 December, 1936, 8 May 1937.

152. M. Agursky ‘An Occult Source of Socialist Realism: Gorky and Theories of Thought Transference’, in B. G. Rosenthal (ed.) The