Masha Salazkina – författare

Cinemas of Global Solidarity brings together new essays from some of the most influential scholars within film and media studies, as well as a number of emerging international scholars, to re-examine the entwined legacies of anti-capitalist and anti-colonial internationalism in the cinema with a view toward contemporary forms of political moving image culture. The contributions to this collection show how film, in both its aesthetic strategies and broader circuits of distribution and exhibition, has worked as an instrument of global solidarity, imagining alternatives to the predatory expansion of finance capital and the militarized borders of the nation state. Remaining particularly attentive to the liberation movements of the Global South and the internal colonies of the Global North, these essays open onto a broader interrogation of the problem of solidarity-building through moving image media, its multivalent histories and contemporary resonances. Cinemas of Global Solidarity thus responds to a growing impetus within the field to re-examine both the influential and the overlooked film radicalisms of the past in order to better conceptualize the role of cinema within the ideological battlelines of late capitalism. In establishing linkages between these unique frameworks, it argues for the need to reckon with the longer history of internationalist solidarity to catalyze new paths for the liberatory possibilities of film within global media culture.

Cinemas of Global Solidarity brings together new essays from some of the most influential scholars within film and media studies, as well as a number of emerging international scholars, to re-examine the entwined legacies of anti-capitalist and anti-colonial internationalism in the cinema with a view toward contemporary forms of political moving image culture. The contributions to this collection show how film, in both its aesthetic strategies and broader circuits of distribution and exhibition, has worked as an instrument of global solidarity, imagining alternatives to the predatory expansion of finance capital and the militarized borders of the nation state. Remaining particularly attentive to the liberation movements of the Global South and the internal colonies of the Global North, these essays open onto a broader interrogation of the problem of solidarity-building through moving image media, its multivalent histories and contemporary resonances. Cinemas of Global Solidarity thus responds to a growing impetus within the field to re-examine both the influential and the overlooked film radicalisms of the past in order to better conceptualize the role of cinema within the ideological battlelines of late capitalism. In establishing linkages between these unique frameworks, it argues for the need to reckon with the longer history of internationalist solidarity to catalyze new paths for the liberatory possibilities of film within global media culture.

During the 1920s and '30s, Mexico attracted an international roster of artists and intellectuals - including Orson Welles, Katherine Anne Porter, and Leon Trotsky - who were drawn to the heady tumult engendered by battling cultural ideologies in an emerging center for the avant-garde. Against the backdrop of this cosmopolitan milieu, "In Excess" reconstructs the years that the renowned Soviet director Sergei Eisenstein spent in the country to work on his controversial film "Que Viva Mexico!" Illuminating the inextricability of Eisenstein's oeuvre from the global cultures of modernity and film, Masha Salazkina situates this unfinished project within the twin contexts of postrevolutionary Mexico and the ideas of such contemporaneous thinkers as Walter Benjamin. In doing so, Salazkina explains how Eisenstein's engagement with Mexican mythology, politics, and art deeply influenced his ideas, particularly about sexuality. She also uncovers the role Eisenstein's bisexuality played in his creative thinking and identifies his use of the baroque as an important turn toward excess and hybrid forms.Beautifully illustrated with rare photographs, "In Excess" provides the most complete genealogy available of major shifts in this modern master's theories and aesthetics.

During the 1920s and ’30s, Mexico attracted an international roster of artists and intellectuals—including Orson Welles, Katherine Anne Porter, and Leon Trotsky—who were drawn to the heady tumult engendered by battling cultural ideologies in an emerging center for the avant-garde. Against the backdrop of this cosmopolitan milieu, In Excess reconstructs the years that the renowned Soviet director Sergei Eisenstein spent in the country to work on his controversial film ¡Que Viva Mexico!

            Illuminating the inextricability of Eisenstein’s oeuvre from the global cultures of modernity and film, Masha Salazkina situates this unfinished project within the twin contexts of postrevolutionary Mexico and the ideas of such contemporaneous thinkers as Walter Benjamin. In doing so, Salazkina explains how Eisenstein’s engagement with Mexican mythology, politics, and art deeply influenced his ideas, particularly about sexuality. She also uncovers the role Eisenstein’s bisexuality played in his creative thinking and identifies his use of the baroque as an important turn toward excess and hybrid forms. Beautifully illustrated with rare photographs, In Excess provides the most complete genealogy available of major shifts in this modern master’s theories and aesthetics.

For too long, the field of amateur cinema has focused on North America and Europe. In Global Perspectives on Amateur Film Histories and Cultures, however, editors Masha Salazkina and Enrique Fibla-Gutiérrez fill the literature gap by extending that focus and increasing inclusivity. Through carefully curated essays, Salazkina and Fibla-Gutiérrez bring wider meaning and significance to the discipline through their study of alternative cinema in new territories, fueled by different historical and political circumstances, innovative technologies, and ambitious practitioners. The essays in this volume work to realize the radical societal democratization that shows up in amateur cinema around the world. In particular, diverse contributors highlight the significance of amateur filmmaking, the exhibition of amateur films, the uses and availability of film technologies, and the inventive and creative approaches of filmmakers and advocates of amateur film. Together, these essays shed new light on alternative cinema in a wide range of cities and countries where amateur films thrive in the shadow of commercial and conventional film industries.

For too long, the field of amateur cinema has focused on North America and Europe. In Global Perspectives on Amateur Film Histories and Cultures, however, editors Masha Salazkina and Enrique Fibla-Gutiérrez fill the literature gap by extending that focus and increasing inclusivity. Through carefully curated essays, Salazkina and Fibla-Gutiérrez bring wider meaning and significance to the discipline through their study of alternative cinema in new territories, fueled by different historical and political circumstances, innovative technologies, and ambitious practitioners. The essays in this volume work to realize the radical societal democratization that shows up in amateur cinema around the world. In particular, diverse contributors highlight the significance of amateur filmmaking, the exhibition of amateur films, the uses and availability of film technologies, and the inventive and creative approaches of filmmakers and advocates of amateur film. Together, these essays shed new light on alternative cinema in a wide range of cities and countries where amateur films thrive in the shadow of commercial and conventional film industries.

One of the Best Scholarly Books of 2023, The Chronicle of Higher EducationA free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more.In this capacious transnational film history, renowned scholar Masha Salazkina proposes a groundbreaking new framework for understanding the cinematic cultures of twentieth-century socialism. Taking as a point of departure the vast body of work screened at the Tashkent International Festival of Cinemas of Asia, Africa, and Latin America in the 1960s and 1970s, World Socialist Cinema maps the circulation of films between the Soviet Bloc and the countries of the Global South in the mid- to late twentieth century, illustrating the distribution networks, festival circuits, and informal channels that facilitated this international network of artistic and intellectual exchange. Building on decades of meticulous archival work, this long-anticipated film history unsettles familiar stories to provide an alternative to Eurocentric, national, and regional narratives, rooted outside of the capitalist West.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.This book follows the production, transnational circulation, and reception of the highest grossing film in the history of Soviet exhibition, the 1971 Mexican romance Yesenia. The film adaptation of a telenovela based on a wildly popular graphic novel set during the Second Franco-Mexican War became a surprise hit in the USSR, selling more than ninety million tickets in the first year of its Soviet release alone. Drawing on years of archival research, renowned film scholar Masha Salazkina takes Yesenia’s unprecedented popularity as an entry point into a wide-ranging exploration of the cultures of Mexico and the Soviet Union in the 1970s and of the ways in which popular culture circulated globally. Paying particular attention to the shifting landscape of sexual politics, Romancing "Yesenia" argues for the enduring importance and ideological ambiguities of melodramatic forms in global popular media.

Essays on how to teach one of the most important issues of our timePeople migrate to seek opportunities, to unite with family, and to escape war, persecution, poverty, and environmental disasters. A phenomenon that has real, lived effects on individuals and communities, migration also carries symbolic, ideological significance. Its depiction in literature, film, and other media powerfully shapes worldviews, identities, attitudes toward migrants, and a political landscape that is both local and global. It is imperative, then, to connect the disciplinary and theoretical tools we have for understanding migration and to put them in conversation with students' experiences.Featuring a wide range of classroom approaches, this volume brings together topics that are often taught separately, including tourism, slavery, drug cartels, race, whiteness, settler colonialism, the Arab Spring, assimilation, and disability. Readers are introduced to terminology and legal frameworks and to theories of migration in relation to Black studies, ethnic studies, Asian American studies, Latinx studies, border studies, postcolonial studies, and Indigenous studies.This volume also contains discussion of the following texts, films, and other media: Ai Weiwei, Human Flow; Mati Diop, Atlantiques; Wapikoni Mobile; Nuruddin Farah, Links; Uwem Akpan, Luxurious Hearses; J. M. Coetzee, Life and Times of Michael K; Amitav Ghosh, Gun Island; Orban Wallace, Another News Story; United Nations Convention Relating to the Status of Refugees (the Geneva Convention); Oscar Martínez, The Beast: Riding the Rails and Dodging Narcos on the Migrant Trail; Antonio Ortuño, La Fila India; Marc Silver, Who Is Dayani Crystal?; Javier Zamora, Unaccompanied; Valeria Luiselli, Tell Me How It Ends: An Essay in Forty Questions; Jonas Poher Rasmussen, Flee.