Abstract
Focusing primarily on his work after 1929, this article traces Sergei Tret’iakov as an “operative author”. Tret’iakov’s writing practice, shaped by the camera apparatus, embodied and dominated text and image production in the mid-1930s. The article brings Tret’iakov’s writing on photography and the ocherk, including his contributions to Sovetskoe foto, Pioner, and book-length collections featuring his photography, into dialogue with his contemporaries, especially Mikhail Prishvin and Leonid Leonov, and illustrates photography’s shifting role in the codification of Socialist Realism. It suggests the expansive reach of Tret’iakov’s “operative-eye” as a model practice beyond his death.
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