<p/><br></br><p><b> About the Book </b></p></br></br><p>1. This book presents the untold story of the role the emergence of cinematic sound had on Soviet politics and culture. The author contextualizes media technologies in the midst of the political and cultural environment of the early Soviet era.</p> <p>2. The author is a returning IUP author who is extremely active in both Slavic studies and film and media studies.</p> <p>3. This book with have a market among both film and Russian/East European studies scholars and is a strong contribution to IUPs growing international film history lists.</p></p><p/><br></br><p><b> Book Synopsis </b></p></br></br><p>As cinema industries around the globe adjusted to the introduction of synch-sound technology, the Soviet Union was also shifting culturally, politically, and ideologically from the heterogeneous film industry of the 1920s to the centralized industry of the 1930s, and from the avant-garde to Socialist Realism. In <em>The Voice of Technology: Soviet Cinema's Transition to Sound, 1928-1935</em>, Lilya Kaganovsky explores the history, practice, technology, ideology, aesthetics, and politics of the transition to sound within the context of larger issues in Soviet media history. Industrialization and centralization of the cinema industry greatly altered the way movies in the Soviet Union were made, while the introduction of sound radically influenced the way these movies were received. Kaganovsky argues that the coming of sound changed the Soviet cinema industry by making audible, for the first time, the voice of State power, directly addressing the Soviet viewer. By exploring numerous examples of films from this transitional period, Kaganovsky demonstrates the importance of the new technology of sound in producing and imposing the "Soviet Voice."</p><p/><br></br><p><b> Review Quotes </b></p></br></br><br><p>Highly recommended.</p></p>-- "Choice"<br><br><p>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.</p></p>-- "CineMontage"<br><p/><br></br><p><b> About the Author </b></p></br></br><p>Lilya Kaganovsky is Associate Professor of Slavic, Comparative Literature, and Media & Cinema Studies at the University of Illinois, Urbana-Champaign. She is author of <i>How the Soviet Man was Unmade</i>, and editor (with Lauren M. E. Goodlad and Robert A Rushing) of <i>Mad Men, Mad World: Sex, Politics, Style and the 1960</i> and (with Masha Salzkina) of <i>Sound, Music, Speech in Soviet and Post-Soviet Cinema</i> (IUP).</p>