744 SEER, 82, 3, 2004 In the final chapter of the book Haynes analysesone of the most dominant forms of Soviet masculinity, the soldier hero. He begins by looking at the apparently confident, unshakable masculinity of Chapaev and examines, among other films, Eisenstein's IvantheTerrible, where the author detects a 'masculinityatwarwith itself' (p. I75).ForHaynes thiscrumblingmasculinity reaches a new level with the characterAndrei Sokolov from Sergei Bondarchuk 's TheFateofaMan.He suggeststhat Sokolov's 'self-doubt'characterizes the post-war and post-Stalinistform of masculinity.Again Haynes's contentions are interestingand plausible, although questions remain as to just how far Stalinist Soviet masculinity had crumbled and how far the 'thaw' era introduceda trulynew paradigmof masculinity. OverallJohn Haynes has produced a refreshingpiece of work mercifully unburdened by irrelevantCold War models that have managed to survivein this sphere of research. Haynes's book adds another new dimension to the academic studyof Stalinistcinema, enrichingandbroadeningourunderstanding of this phenomenon rather than reinforcing dated myths. It is a wellwritten and thoughtful book which shows even the most famous products of Soviet cinema in the I930S to be more complex and ambiguous than one might expect. Department ofRussian J. MILLER University ofExeter Pradna, Stanislava;Skapova,Zdena and Cieslar,Jiri. Demanty vsednosti,eskja slovenskjfilm 6o let.Kapitoly onove vlne. Prazska' scena, Prague, 2002. 387 pp. Notes. Bibliography.Indexes. 399 Kc: 150.oo. THE prefaceto thisbook claimsthatit is importantbecause it has been written by members of the 'last generation which was still able to witness the [Czechoslovak] New Wave at the end of the I96os and beginning of the I970s'. It claims the book's importance, therefore,as more or less a 'primary source'. And if not important, it might have been at least interesting to see how post-I989 Czech scholars at the Prague film school, FAMU (Zdena Skapova),and the Film Studies Department at Prague University (Stanislava Pradna andJiri Cieslar)analyse the CzechoslovakNew Wave. They are also the firstgeneration to researchthe filmmovement of the I96os afterthe fallof Communism in Czechoslovakia.Unfortunately,the workcarriedout by these scholars, and its results, makes this book neither important, nor interesting (not even as an historical document). It is disappointing mainly because it does not offer anything new and not already stated in previous publications on the subject for example, in the workof PeterHames, Antonin and Mira Liehm, andJan Zalman. The book consists of three studies. The first,by Skapova, attempts to be a comparative analysisof the poetics of the films of the I950s (whatthe author calls the 'classical' style), which reacted against Socialist Realist aesthetics, and the poetics employed in the New Wavefilms.The elements of filmpoetics are divided into sections: time, plot, character, setting, style, camera (and colour), editing, and sound. Unfortunately, Skapova's commentary on the REVIEWS 745 I950Sis ratherbrief and sketchy, leaving the reader to take many things for granted. Moreover, her terminology is not clear;for example, one is not sure what she means by 'classical',whethershe is referringto world cinema or only Czech, and if the latter,what classicalCzech cinema is. The studyas a whole is disorganized, with no apparent argument and, more surprisingly, no conclusion. There aresome good points,but they areeitherquoted fromother works(asin the case ofJean Douchet'sNJouvelle vague, Paris, I998, when writing aboutthe spectator'sinvolvementin the narrative),or arefound in the 'wrong' section. This is the case with a perceptive analysisof an editing sequence in Juraj Herz's Spalovac mrtvol ('The Cremator');one wonders why it appears in the section dedicated to the 'camera'. By contrast, Prfadna!'s study is well structuredwith a clear argument and conclusion. Hers is a discussionof the charactersand actorsof the New Wave, and how historical, geographical, and national contexts influenced the appearance of new 'figures'in Czech and Slovak cinema. Her conclusions, however, do not tell us anythingnew. The best read is Cieslar's study, 'Obrana samomluvy' (Defence of the Monologue), although academically it is grotesque. His aim is to analyse a sequence in Brynych's I964 film ... a patyjezdecje starch('. . . and the fifth horseman is fear'),where the main characteris talkingaloud to himself, that is, where the actor declaims a monologue. Cieslar is puzzled because the monologue was neither in the novel on which the film was...