Jeremy Hicks
Biographic Data
| ID | 5786550 |
|---|---|
| NAME | Jeremy Hicks |
| GIVEN NAMES | Jeremy |
| FAMILY NAME | Hicks |
| SIGNATURE | HICKS J |
| AFFILIATIONS | Queen Mary University of London |
| ORCID | 0000-0001-8584-0292 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 6 |
| WORKS AS AUTHOR | 14 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Documentary Film and the Volga Famine
In February 1922, the Save the Children Fund released a short documentary film, Famine, as part of their campaign to raise money for famine relief in Russia. The enormously successful campaign itself and this use of film are widely seen as a significant moment in the history of modern humanitarianism. However, while this was not the first or only film made about the Russian Famine in this period, most previous scholarship has treated Famine as su…
Esfir Shub
As the first book-length study of the Soviet director who invented the compilation film, Esfir Shub: Pioneer of Documentary Filmmaking makes an important contribution to scholarship. The book conce
Was the Left’s Thunder Stolen? Soviet Short Films on British Wartime Screens
Following the Nazi invasion of the Soviet Union in June 1941, the United Kingdom witnessed a dramatic surge in support of and interest in its new Soviet ally against the Nazis. The British government began to help the Soviets, but was widely perceived to be doing too little. The Ministry of Information attempted to counter this impression, showing the government’s support for Russia, while at the same time trying to ensure that this support remai…
Rising flags, falling soldiers
This dossier seeks to expose and challenge the pervasive assumption that the modern secular icon is necessarily still or photographic and therefore marginal to the moving imagery of film and cinema. Our focus, in the following three case studies, on images linked to political violence reflects how this theme has dominated our notion of an icon throughout the eras of photography, cinema and digital technologies. This introduction briefly considers…
Appropriating the presence of history
The extreme high-angle photograph of a Red Army soldier, supported by a comrade, hoisting the Soviet flag from the roof of the Reichstag over the smouldering ruins of Berlin is a widely recognized iconic image of the end of World War II in Europe. Its filmic counterpart, black-and-white footage of the assault on the Reichstag, starts with many shots of an artillery barrage, taken from behind the guns, edited together with images of explosions. Th…
Filming the end of the Holocaust
Too gruesome to be fully taken in”
Konstantin Simonov's article about Majdanek, entitled “The Extermination Camp” and published in Krasnaia zvezda on August 10, 11, and 12, 1944, has typically been dismissed as irrelevant to our understanding of the Holocaust, due to its downplaying of the extent of Jewish victims. However, a detailed analysis of Simonov's article shows it to constitute not only the first but also a worthwhile attempt to grasp the unprecedented and unthinkable nat…
Soul Destroyers’
The Soviet war crimes trials at K rasnodar, in July 1943, and K har′kov, in December 1943, are rarely considered, or thought to contribute to understanding of the H olocaust. This article argues that, despite their propagandist aims, unsound legal basis and silence over the specific fate of the J ews, the trials were discussed by the S oviet press in ways which anticipate understanding of the H olocaust. The picture of systematic gassings of civi…
First Films of the Holocaust
Dziga Vertov
Pioneer of political documentary and inventor of cinema verite, Dziga Vertov has exerted a decisive influence on directors from Eisenstein to Godard. Yet his reputation long rested upon a lone masterpiece, ‘Man with a Movie Camera’. Recently, however Vertov has begun to be recognised as the creator of a body of innovative and distinct films and, as Jeremy Hicks argues, documentary as we know it today is unthinkable without the rediscovery of Vert…
Worker Correspondents
AAAiile journalism is often seen as the antithesis of literature, the two enjoyed close and productive relationship in the Soviet Union in the decade following the Revolution.1 The influence of the Bolshevik press was key to Red victory in the Civil War, and much of Bolshevik journalism's power stemmed from its application of literary methods to factual genres and harnessing of literary talents such as Vladimir Mayakovsky.2 Early Soviet journalis…
From Conduits to Commanders
In the period 1923–25, the worker and peasant correspondent movement (rabsel′korovskoe′ dvizhenie) marked a partial exception to Bolshevik denigration of the informational function of the press. Through an analysis of contemporary debates, especially the statements of key figures such as Bukharin and Stalin, this article charts the evolution of the movement in a period when it was neither the neutral conduit for grassroots views that Bukharin hop…
The international reception of early soviet sound cinema
"Mikhail Zoshchenko and the Poetics of "Skaz
The reputation of Soviet writer Mikhail Zoshchenko (1894-1958) was built and still stands upon his short stories of the 1920s. Their force derives from their most distinctive characteristic: they are told in the colloquial language of the people. This is called the skaz narrative manner and critics have associated the term with Zoshchenko from the beginning of his career. Nevertheless, as I argue in Chapter I, inadequate understanding of skaz has…
From Conduits to Commanders
In the period 1923–25, the worker and peasant correspondent movement (rabsel′korovskoe′ dvizhenie) marked a partial exception to Bolshevik denigration of the informational function of the press. Through an analysis of contemporary debates, especially the statements of key figures such as Bukharin and Stalin, this article charts the evolution of the movement in a period when it was neither the neutral conduit for grassroots views that Bukharin hop…
Rising flags, falling soldiers
This dossier seeks to expose and challenge the pervasive assumption that the modern secular icon is necessarily still or photographic and therefore marginal to the moving imagery of film and cinema. Our focus, in the following three case studies, on images linked to political violence reflects how this theme has dominated our notion of an icon throughout the eras of photography, cinema and digital technologies. This introduction briefly considers…
Too gruesome to be fully taken in”
Konstantin Simonov's article about Majdanek, entitled “The Extermination Camp” and published in Krasnaia zvezda on August 10, 11, and 12, 1944, has typically been dismissed as irrelevant to our understanding of the Holocaust, due to its downplaying of the extent of Jewish victims. However, a detailed analysis of Simonov's article shows it to constitute not only the first but also a worthwhile attempt to grasp the unprecedented and unthinkable nat…
Soul Destroyers’
The Soviet war crimes trials at K rasnodar, in July 1943, and K har′kov, in December 1943, are rarely considered, or thought to contribute to understanding of the H olocaust. This article argues that, despite their propagandist aims, unsound legal basis and silence over the specific fate of the J ews, the trials were discussed by the S oviet press in ways which anticipate understanding of the H olocaust. The picture of systematic gassings of civi…
Worker Correspondents
AAAiile journalism is often seen as the antithesis of literature, the two enjoyed close and productive relationship in the Soviet Union in the decade following the Revolution.1 The influence of the Bolshevik press was key to Red victory in the Civil War, and much of Bolshevik journalism's power stemmed from its application of literary methods to factual genres and harnessing of literary talents such as Vladimir Mayakovsky.2 Early Soviet journalis…
"Mikhail Zoshchenko and the Poetics of "Skaz
The reputation of Soviet writer Mikhail Zoshchenko (1894-1958) was built and still stands upon his short stories of the 1920s. Their force derives from their most distinctive characteristic: they are told in the colloquial language of the people. This is called the skaz narrative manner and critics have associated the term with Zoshchenko from the beginning of his career. Nevertheless, as I argue in Chapter I, inadequate understanding of skaz has…
The international reception of early soviet sound cinema
From Conduits to Commanders
In the period 1923–25, the worker and peasant correspondent movement (rabsel′korovskoe′ dvizhenie) marked a partial exception to Bolshevik denigration of the informational function of the press. Through an analysis of contemporary debates, especially the statements of key figures such as Bukharin and Stalin, this article charts the evolution of the movement in a period when it was neither the neutral conduit for grassroots views that Bukharin hop…
Dziga Vertov
Pioneer of political documentary and inventor of cinema verite, Dziga Vertov has exerted a decisive influence on directors from Eisenstein to Godard. Yet his reputation long rested upon a lone masterpiece, ‘Man with a Movie Camera’. Recently, however Vertov has begun to be recognised as the creator of a body of innovative and distinct films and, as Jeremy Hicks argues, documentary as we know it today is unthinkable without the rediscovery of Vert…
Worker Correspondents
AAAiile journalism is often seen as the antithesis of literature, the two enjoyed close and productive relationship in the Soviet Union in the decade following the Revolution.1 The influence of the Bolshevik press was key to Red victory in the Civil War, and much of Bolshevik journalism's power stemmed from its application of literary methods to factual genres and harnessing of literary talents such as Vladimir Mayakovsky.2 Early Soviet journalis…
First Films of the Holocaust
Too gruesome to be fully taken in”
Konstantin Simonov's article about Majdanek, entitled “The Extermination Camp” and published in Krasnaia zvezda on August 10, 11, and 12, 1944, has typically been dismissed as irrelevant to our understanding of the Holocaust, due to its downplaying of the extent of Jewish victims. However, a detailed analysis of Simonov's article shows it to constitute not only the first but also a worthwhile attempt to grasp the unprecedented and unthinkable nat…
Soul Destroyers’
The Soviet war crimes trials at K rasnodar, in July 1943, and K har′kov, in December 1943, are rarely considered, or thought to contribute to understanding of the H olocaust. This article argues that, despite their propagandist aims, unsound legal basis and silence over the specific fate of the J ews, the trials were discussed by the S oviet press in ways which anticipate understanding of the H olocaust. The picture of systematic gassings of civi…
Filming the end of the Holocaust
Rising flags, falling soldiers
This dossier seeks to expose and challenge the pervasive assumption that the modern secular icon is necessarily still or photographic and therefore marginal to the moving imagery of film and cinema. Our focus, in the following three case studies, on images linked to political violence reflects how this theme has dominated our notion of an icon throughout the eras of photography, cinema and digital technologies. This introduction briefly considers…
Appropriating the presence of history
The extreme high-angle photograph of a Red Army soldier, supported by a comrade, hoisting the Soviet flag from the roof of the Reichstag over the smouldering ruins of Berlin is a widely recognized iconic image of the end of World War II in Europe. Its filmic counterpart, black-and-white footage of the assault on the Reichstag, starts with many shots of an artillery barrage, taken from behind the guns, edited together with images of explosions. Th…
Was the Left’s Thunder Stolen? Soviet Short Films on British Wartime Screens
Following the Nazi invasion of the Soviet Union in June 1941, the United Kingdom witnessed a dramatic surge in support of and interest in its new Soviet ally against the Nazis. The British government began to help the Soviets, but was widely perceived to be doing too little. The Ministry of Information attempted to counter this impression, showing the government’s support for Russia, while at the same time trying to ensure that this support remai…
Documentary Film and the Volga Famine
In February 1922, the Save the Children Fund released a short documentary film, Famine, as part of their campaign to raise money for famine relief in Russia. The enormously successful campaign itself and this use of film are widely seen as a significant moment in the history of modern humanitarianism. However, while this was not the first or only film made about the Russian Famine in this period, most previous scholarship has treated Famine as su…
Esfir Shub
As the first book-length study of the Soviet director who invented the compilation film, Esfir Shub: Pioneer of Documentary Filmmaking makes an important contribution to scholarship. The book conce
Art (11 works) · History (9 works) · Political science (9 works) · European history and politics (8 works) · Law (8 works) · History (7 works) · Sociology (7 works) · Italian Fascism and Post-war Society (6 works) · Law (6 works) · Politics (6 works)