742 SEER, 82, 3, 2004 Oktiabre, 1927], a stable-matefor Pudovkinat the commercialfirm,Mezhrabpom . Kepley shows how Pudovkin's film benefited both procedurally and stylisticallyfrom the concurrentactivitiesof Eisenstein.In addition, he says,it drew on the example provided by Hollywood in D. W. Griffith'sIntolerance (I9I6), and in popular American films imported into Russia under NEP (192 I-28/9), thereby becoming something of a hybrid:Kepley thus pursues arguments which he has previously outlined elsewhere ('Pudovkin and the classicalHollywood Tradition', Wide Angle,7, I985, 3, and 'Pudovkinand the Continuity Style', Discourse, 17, 1995, 3). A stylisticanalysis is followed by a discussionof the film's reception in Russia (by the audience for whom it was intended)and, subsequently,at home and abroad.The book'sillustrationsare a credit to the care taken by Pudovkin's cameraman, Anatoli Golovnia, to achieve particular effects. Kepley indicates how much of the historical background would have been familiar at the time of the film's release and quotes Lunacharskii'sappeal for an aesthetic synthesisof entertainment and propaganda:'Militantfilmsthat failed to entertainpromised to produce only "boring agitation ...] it is well-known that boring agitation is counteragitation "' (p. 25). Kepley's historical contextualization includes an examination of what Pudovkin chooses to show (a caricature of Kerenskii'sProvisional Government ) and to suppress (Lenin's machinations to increase his power base), representing the October Revolution, he says, as bottom-up rather than topdown political action. He demonstrates how the film follows an approved Marxist narrative model, presenting Imperialism (St Petersburg), through Revolution (Petrograd) to Communism (Leningrad) and how, as in other Soviet fictions, a peasant lad and a woman are enlightened by their experience of war and want, and mentored by a committed Bolshevik. Kepley indicates how recurrent visual motifs (water, potatoes, and the monumental statuary of the city) are used to make connections between the film's protagonists and themes. The book makes a persuasive case for the complexity of 7he End of St Petersburgas proof of Pudovkin's credentials as an experimental film-maker rather than a conservative 'poor relation' to Eisenstein and Vertov. 'In the best spirit of the avant-garde', concludes Kepley, 'Pudovkin allows the seams to show through. As a result, TheEnd ofSt Petersburg amply rewards subsequent viewings, seams and all' (p. i i 8). The guide can be recommended to anyone seeing the film for the first time and to viewers re-visiting a 'classic'. BirkbeckCollege AMYSARGEANT University ofLondon Haynes, John. New Soviet Man. Gender andMasculinity in StalinistSovietCinema. Manchester University Press, Manchester and New York, 2003. viii + 207 pp. Illustrations. Notes. Bibliography. Index. ?X5.99 (paperback). NEWSOVIETMANvery much continues the academic spiritof recentyears to seek new perspectives or analyses of Soviet cinema under Stalin. John REVIEWS 743 Haynes'sbook broadlyconcentrateson the issueof masculinity,which despite being perceived as a central aspect of Soviet politics and culture under Stalinism,has received relativelylittleattention in the domain of cinema. The author also manages to tie his centraltheme to broaderculturaland historical mattersgiving the book a potentiallywider appeal than the titlemay suggest. Haynes groundshis book in a dual methodological structureof psychoanalytic theory and Bakhtinian discourse theory. The use of the psychoanalytic theoriesof Sigmund FreudandJacques Lacandoes seem to representa rather exotic frameworkfor analysing I930S Soviet film. Nonetheless, Haynes does provide reasonable justification for employing what has become, in some quarters,a ratherunfashionablemethod of enquiry. Forinstance, the author acknowledgesthe fact thatpsychoanalytictheoryhas been subjectto criticism fromfeministswho arguethat the theoriesof Freudand Lacan arethemselves founded upon patriarchalassumptionsthat regardwomen asbeing inferiorto men. Yet Haynes picks up on a point, which also originatesfrom the feminist school, that psychoanalysis can provide equally a basis for describing and analysing patriarchy. The author also avoids accusations of applying allembracing theories of little relevance to Soviet cinema by embedding his examination of the films in their specific discursive context. At this point Haynes completes his methodological preparationby introducingthe workof Abram Terts and Mikhail Bakhtin who were broadly concerned with the possibilities of meaning in language. On the whole Haynes provides a good foundation upon which to build the argumentsof subsequentchaptersin his book. Afterplacing cinema within the context of a remasculinizationof culturein the 1930s, the author then proceeds with an analysisof the musical comedies of Grigorii Aleksandrov and Ivan Pyriev...