{'fraction_non_alphanumeric': 0.040123456790123455, 'fraction_numerical': 0.010802469135802469, 'mean_word_length': 5.326829268292683, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Poetic cinema: a genealogy of the ‘poetic’ in Soviet and post-Soviet critical discourse

ABSTRACT The term ‘poetic cinema’ is common in Russo-Soviet critical discourse, but has meant different things at different times. This article demonstrates how ‘poetic cinema’ has two overlapping, but nonetheless distinct meanings: on the one hand, according to Russian Formalism, the term ‘poetic’ connotes a defining feature specific to art; on the other hand, it implies an expressive mode characterised by elevation from a concrete reality and commonly ascribed to poetry. The meaning of ‘poetic’ oscillated between the ‘formalist’ and ‘elevated’ senses over the course of Soviet history, whilst the latter meaning has been adapted in varying historical conditions. The article explores these changing meanings of ‘poetic cinema’; the parallels and divergences between the poetic cinema of the 1920s and the 1960s; the use of the terms ‘poetic cinema’ vs. ‘auteur cinema’; and the overlap between ‘poetic’ and ethno-national cinemas during the late 1960s and 70s. The ambiguities of the term ‘poetic cinema’ in Russo-Soviet critical discourse at different ‘thaws’ and ‘freezes’ in Soviet cultural history point to a repressed ‘other’ behind the realist mandate that dominated Soviet cinema and culture.