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Cinema and Politics:
Soviet Filmmaking and Hollywood
From the Late 1940s to Early 1950s
Archival materials from the Soviet Ministry of Cinematography and the Council of Ministers of the USSR provide a detailed view of how Soviet leadership shaped its policies regarding foreign film distribution and the portrayal of the country on screen in the post-war years. The late 1940s to early 1950s marked a period when ideological confrontation with the West increasingly influenced decisions related to cinema.
1948 Plans: Acquiring Hollywood Scripts
In the spring of 1948, the Soviet Ministry of Cinematography discussed the possibility of purchasing scripts for several upcoming Hollywood films deemed anti-Soviet in Moscow. In a letter from Minister of Cinematography Ivan Bolshakov to Deputy Chairman of the Council of Ministers Alexei Kosygin, the films Iron Curtain, Danube, and Sofia were mentioned. These were early Hollywood spy dramas set in post-war Europe, portraying Soviet agents as antagonists.
To obtain these scripts and "other necessary materials," Bolshakov proposed sending a "special representative" to Hollywood and requested permission to spend $500 from the revenue earned by Soviet film distribution in the U.S. The Ministry of Finance had no objections to the expenditure, but in June 1948, the Council of Ministers, led by Stalin, rejected the Ministry of Cinematography’s request.
The documents suggest that Bolshakov’s initiative was not aimed at interfering with Western film production but rather at gathering intelligence on how anti-Soviet themes were being developed in American cinema.
1948 Plans: Acquiring Hollywood Scripts
In the spring of 1948, the Soviet Ministry of Cinematography discussed the possibility of purchasing scripts for several upcoming Hollywood films deemed anti-Soviet in Moscow. In a letter from Minister of Cinematography Ivan Bolshakov to Deputy Chairman of the Council of Ministers Alexei Kosygin, the films Iron Curtain, Danube, and Sofia were mentioned. These were early Hollywood spy dramas set in post-war Europe, portraying Soviet agents as antagonists.
To obtain these scripts and "other necessary materials," Bolshakov proposed sending a "special representative" to Hollywood and requested permission to spend $500 from the revenue earned by Soviet film distribution in the U.S. The Ministry of Finance had no objections to the expenditure, but in June 1948, the Council of Ministers, led by Stalin, rejected the Ministry of Cinematography’s request.
The documents suggest that Bolshakov’s initiative was not aimed at interfering with Western film production but rather at gathering intelligence on how anti-Soviet themes were being developed in American cinema.
Soviet Films Abroad in 1952
Each type of visual aid has pros and cons that must be evaluated to ensure it will be beneficial to the overall presentation. Before incorporating visual aids into speeches, the speaker should understand that if used incorrectly, the visual will not be an aid, but a distraction.
Planning ahead is important when using visual aids. It is necessary to choose a visual aid that is appropriate for the material and audience. The purpose of the visual aid is to enhance the presentation. Each type of visual aid has pros and cons that must be evaluated to ensure it will be beneficial to the overall presentation. Before incorporating visual aids into speeches, the speaker should understand that if used incorrectly, the visual will not be an aid, but a distraction. Planning ahead is important when using visual aids. It is necessary to choose a visual aid that is appropriate for the material and audience. The purpose of the visual aid is to enhance the presentation.
Each type of visual aid has pros and cons that must be evaluated to ensure it will be beneficial to the overall presentation. Before incorporating visual aids into speeches, the speaker should understand that if used incorrectly, the visual will not be an aid, but a distraction.
Planning ahead is important when using visual aids. It is necessary to choose a visual aid that is appropriate for the material and audience. The purpose of the visual aid is to enhance the presentation. Each type of visual aid has pros and cons that must be evaluated to ensure it will be beneficial to the overall presentation. Before incorporating visual aids into speeches, the speaker should understand that if used incorrectly, the visual will not be an aid, but a distraction. Planning ahead is important when using visual aids. It is necessary to choose a visual aid that is appropriate for the material and audience. The purpose of the visual aid is to enhance the presentation.
Film Distribution in the U.S.: Trends and Structure
Additional materials from 1952 provide a clearer picture of Soviet cinema’s position in the American market. Soviet film distribution in the U.S. had significantly declined by the early 1950s—from 7.3 million viewers in 1948 to 530,000 in 1951. Reports attributed this drop to an "atmosphere of crude blackmail and intimidation of theater owners."
Nevertheless, certain films remained popular. In 1950, The Battle of Stalingrad attracted over 55,000 viewers across ten U.S. theaters, while in 1952, the documentary New China drew 30,000 viewers in four theaters.
The central player in Soviet film distribution in the U.S. was Artkino Pictures, established in 1940. Documents explicitly note that the company was "organized with funds from Sovexportfilm, with its working capital owned by Sovexportfilm." The company’s head, Nicholas Napoli, was described as a "progressive individual" registered with U.S. authorities as an agent acting in the interests of a foreign state.
Additional materials from 1952 provide a clearer picture of Soviet cinema’s position in the American market. Soviet film distribution in the U.S. had significantly declined by the early 1950s—from 7.3 million viewers in 1948 to 530,000 in 1951. Reports attributed this drop to an "atmosphere of crude blackmail and intimidation of theater owners."
Nevertheless, certain films remained popular. In 1950, The Battle of Stalingrad attracted over 55,000 viewers across ten U.S. theaters, while in 1952, the documentary New China drew 30,000 viewers in four theaters.
The central player in Soviet film distribution in the U.S. was Artkino Pictures, established in 1940. Documents explicitly note that the company was "organized with funds from Sovexportfilm, with its working capital owned by Sovexportfilm." The company’s head, Nicholas Napoli, was described as a "progressive individual" registered with U.S. authorities as an agent acting in the interests of a foreign state.
Conclusion
These documents reveal the dual nature of Soviet cultural policy in cinema. On one hand, cinema was viewed as a tool for ideological influence and control over the USSR’s image abroad. On the other, internal correspondence reflects an effort to consider the preferences of foreign audiences and find more flexible ways to present Soviet themes.
Sources
These documents reveal the dual nature of Soviet cultural policy in cinema. On one hand, cinema was viewed as a tool for ideological influence and control over the USSR’s image abroad. On the other, internal correspondence reflects an effort to consider the preferences of foreign audiences and find more flexible ways to present Soviet themes.
Sources
- State Archive of the Russian Federation (GA RF)
- Purchase of Hollywood Scripts, 1948 Plans: F.R 5446, Op. 58, D. 6419, L. 1, 3, 18.
- Soviet Films Abroad, 1952: F.R 5446, Op. 86a, D. 8566, L. 132, 133.
- Soviet Films Abroad, 1952: F.R 5446, Op. 86a, D. 8566, L. 113–116.
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