Veronika fuses out: Rape and medium specificity in The Cranes are Flying

Abstract

AbstractHow might Soviet cinema—as. medium, rather than as a true image of the real world—constitute. sexual desire? This speculative question encounters formidable foundational barriers; both the mimetic requirements of socialist realism as such and the fraught topic of sexual desire militate against constructing an answer. Taking Mikhail Kalatozov's The Cranes are Flying as the basis of its discussion, the research explores where we might look in Soviet cinema to find sexual desire not as image—governed. by conventional norms of representational accuracy—but. instead coded more cautiously as a practice of medium specificity—violating., as it were, one set of codes while preserving the decorum of another.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 5 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.