FILMOGRAPHY

In the context of Soviet revolutionary thought, any film which betrayed the socioideological matrix on which it was produced, which was not devoted to the betterment of man within the social context but was rather a function of the director’s special interests, was presumed to indulge in the luxury of decadence or narcissism. It placed individual interest above the collective need. Moreover, nihilism in the Soviet film could be depicted as an assault on human fulfillment, but to have portrayed it as an ultimate human condition was to presume an elitist omniscience which by definition impoverished humanity and deterministically alienated the artist from the people.