Lilya Kaganovsky is Associate Professor of Slavic, Comparative Literature, and Media & Cinema Studies at the University of Illinois, Urbana-Champaign. She is author of How the Soviet Man was Unmade, and editor (with Lauren M. E. Goodlad and Robert A Rushing) of Mad Men, Mad World: Sex, Politics, Style and the 1960 and (with Masha Salzkina) of Sound, Music, Speech in Soviet and Post-Soviet Cinema (IUP).

"Kaganovsky's research is impeccable. Not only does she reference virtually all English-language writing on her subject, she also has combed the archives, unearthing personal stories, government records, filmmakers' notes, press reviews from the period, and other previously untranslated documents."—CineMontage"Highly recommended."—Choice

• AcknowledgmentsNote on Transliteration PrologueIntroduction: The Long Transition: Soviet Cinema and the Coming of Sound 1. The Voice of Technology and the End of Soviet Silent Film: Grigori Kozintsev and Leonid Trauberg's Alone2. The Materiality of Sound: Dziga Vertov's Enthusiasm and Esfir Shub's K.Sh.E.3. The Homogeneous Thinking Subject, or Soviet Cinema Learns to Sing: Igor Savchenko's TheAccordion4. Multilingualism and Heteroglossia in Aleksandr Dovzhenko's Ivan and Aerograd5. "Les Silences de la voix": Dziga Vertov's Three Songs of LeninConclusion: Socialist Realist SoundWorks CitedIndex

Lilya Kaganovsky is Associate Professor of Slavic, Comparative Literature, and Media & Cinema Studies at the University of Illinois, Urbana-Champaign. She is author of How the Soviet Man was Unmade, and editor (with Lauren M. E. Goodlad and Robert A Rushing) of Mad Men, Mad World: Sex, Politics, Style and the 1960 and (with Masha Salzkina) of Sound, Music, Speech in Soviet and Post-Soviet Cinema (IUP).

"Kaganovsky's research is impeccable. Not only does she reference virtually all English-language writing on her subject, she also has combed the archives, unearthing personal stories, government records, filmmakers' notes, press reviews from the period, and other previously untranslated documents."—CineMontage"Highly recommended."—Choice

• AcknowledgmentsNote on Transliteration PrologueIntroduction: The Long Transition: Soviet Cinema and the Coming of Sound 1. The Voice of Technology and the End of Soviet Silent Film: Grigori Kozintsev and Leonid Trauberg's Alone2. The Materiality of Sound: Dziga Vertov's Enthusiasm and Esfir Shub's K.Sh.E.3. The Homogeneous Thinking Subject, or Soviet Cinema Learns to Sing: Igor Savchenko's TheAccordion4. Multilingualism and Heteroglossia in Aleksandr Dovzhenko's Ivan and Aerograd5. "Les Silences de la voix": Dziga Vertov's Three Songs of LeninConclusion: Socialist Realist SoundWorks CitedIndex

Lilya Kaganovsky is Associate Professor of Slavic, Comparative Literature, and Media & Cinema Studies at the University of Illinois, Urbana-Champaign. She is author of How the Soviet Man was Unmade, and editor (with Lauren M. E. Goodlad and Robert A Rushing) of Mad Men, Mad World: Sex, Politics, Style and the 1960 and (with Masha Salzkina) of Sound, Music, Speech in Soviet and Post-Soviet Cinema (IUP).

"Kaganovsky's research is impeccable. Not only does she reference virtually all English-language writing on her subject, she also has combed the archives, unearthing personal stories, government records, filmmakers' notes, press reviews from the period, and other previously untranslated documents."—CineMontage"Highly recommended."—Choice

• AcknowledgmentsNote on Transliteration PrologueIntroduction: The Long Transition: Soviet Cinema and the Coming of Sound 1. The Voice of Technology and the End of Soviet Silent Film: Grigori Kozintsev and Leonid Trauberg's Alone2. The Materiality of Sound: Dziga Vertov's Enthusiasm and Esfir Shub's K.Sh.E.3. The Homogeneous Thinking Subject, or Soviet Cinema Learns to Sing: Igor Savchenko's TheAccordion4. Multilingualism and Heteroglossia in Aleksandr Dovzhenko's Ivan and Aerograd5. "Les Silences de la voix": Dziga Vertov's Three Songs of LeninConclusion: Socialist Realist SoundWorks CitedIndex