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Eastern Bloc media and propaganda was controlled directly by each country's communist party, which controlled the state media, censorship and propaganda organs. State and party ownership of print, television and radio media served as an important manner in which to control information and society in light of Eastern Bloc leaderships viewing even marginal groups of opposition intellectuals as a ...
Students were taught party strictures within the following eight departments: Theory and Practice of the Party-Soviet Press, History of the Party-Soviet Press, Television and Radio Broadcasting, Movie-making and Editorial-publishing Work, Foreign Press and Literature, Russian Journalism and Literature, Stylistics of the Russian language, and ...
Media of the Soviet Union includes: Broadcasting in the Soviet Union. Radio in the Soviet Union; Television in the Soviet Union; Printed media in the Soviet Union; Censorship in the Soviet Union; Propaganda in the Soviet Union
People outside the Soviet Union who used a TVRO satellite television could receive Soviet broadcasts. [citation needed] Broadcasts were time-shifted for the Soviet Union's many time zones. The national television channels were only on the air for part of the day, giving room in the schedule to time-shift.
A notable example is the 1938 publication, History of the Communist Party of the Soviet Union (Bolsheviks), [141] in which the history of the governing party was significantly altered and revised including the importance of the leading figures during the Bolshevik revolution. Retrospectively, Lenin's primary associates such as Zinoviev, Trotsky ...
Broadcasting in the Soviet Union was owned by the Soviet state, and was under its tight control and Soviet censorship. Through the development of satellites and SECAM, controlled broadcasting was initialized as the main frequency for distributing information and entertainment. Under the control of the Soviet Union, censorship and limitation on ...
Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing (montage is French for 'assembly' or 'editing'). It is the principal contribution of Soviet film theorists to global cinema, and brought formalism to bear on filmmaking .
But this is not the important thing. The important thing resides in the fact that the book has a tendency to engrave on the minds of Soviet children (and people in general) the personality cult of leaders, of infallible heroes. This is dangerous and detrimental. The theory of "heroes" and the "crowd" is not a Bolshevik, but a SR theory. The ...