This volume looks into the ways in which film has contaminated and re-shaped culture(s) and the collective unconscious, at both local and global levels, arguing that our lives have been impacted by the ‘then’ that we keep revisiting, lest we forget. It takes the reader from the Berlin Wall to China, and from the terror of communist political prisons and labour camps to the rosy image promoted by propaganda. A key point throughout the text is its interdisciplinary nature, as it brings together literature and film scholars, directors, sociologists and philosophers, whose overall conclusion is that communism, lingering in mentalities, still needs interrogation. Structured along four parts which trace a Homeric (or rather Joycean) journey to a home metonymysed by the long-awaited freedom, this book sets out from the gloomiest aspects of totalitarianism in the Romanian, Serbian and Soviet ‘Hades(es)’ of traumatic psychological and physical experiences and of imposed silencing. The second part gathers together case studies of films illustrating more optimistic views of communism as ‘spring’ (in the USSR) or as a ‘golden age’ (in Romania), thus narcotising the communist ‘subjects’ and preventing them from seeing the actual inferno. The third section offers filmic accounts of the aftermaths of communism, engaging the readers in a nostalgic process that revisits, questions, reflects on and remembers communism on a larger, world stage. The coda rounds up the volume (and the journey therein) by crossing genre frontiers to written narratives with a cinematic component.

A group of Central European communists, most of them Hungarians, in the interwar period served the world communist movement as international cadres of the Comintern, the Moscow-based Communist International. As an important member of this cohort, József Pogány played a major role in the Hungarian Soviet Republic of 1919, the "March Action" in Germany in 1921, and, under the name of John Pepper, in the development of the American Communist Party of the 1920s. During the 1920s he was an important official in the Comintern apparatus and undertook missions on three continents. A prolific writer and effective organizer, he was one of the most flamboyant and controversial communists of his era. Some of his comrades praised him as "the Hungarian Christopher Columbus." Others, like Trotsky, called him a "political parasite."This study is based on newly available primary sources from Hungary, Russia, and the United States; it is the first ever written about this colorful and well-travelled Hungarian communist. Examines Pogány's development as a socialist and communist, the influence of his Jewish origins on his career, the reasons for his remarkable success in the United States, and the circumstances that led to his arrest and execution in the Stalinist terror.

This volume looks into the ways in which film has contaminated and re-shaped culture(s) and the collective unconscious, at both local and global levels, arguing that our lives have been impacted by the 'then' that we keep revisiting, lest we forget. It takes the reader from the Berlin Wall to China, and from the terror of communist political prisons and labour camps to the rosy image promoted by propaganda. A key point throughout the text is its interdisciplinary nature, as it brings together literature and film scholars, directors, sociologists and philosophers, whose overall conclusion is that communism, lingering in mentalities, still needs interrogation. Structured along four parts which trace a Homeric (or rather Joycean) journey to a home metonymysed by the long-awaited freedom, this book sets out from the gloomiest aspects of totalitarianism in the Romanian, Serbian and Soviet 'Hades(es)' of traumatic psychological and physical experiences and of imposed silencing. The second part gathers together case studies of films illustrating more optimistic views of communism as 'spring' (in the USSR) or as a 'golden age' (in Romania), thus narcotising the communist 'subjects' and preventing them from seeing the actual inferno. The third section offers filmic accounts of the aftermaths of communism, engaging the readers in a nostalgic process that revisits, questions, reflects on and remembers communism on a larger, world stage. The coda rounds up the volume (and the journey therein) by crossing genre frontiers to written narratives with a cinematic component.

This history of the Romanian Communist Party (RCP) traces its origins as a tiny, clandestine revolutionary organization in the 1920s, to its years in national power from 1944 to 1989, and to the post-1989 metamorphoses.

This volume, chiefly Wolfe's letters from 1939 with unpublished speeches and writings from the Hoover Archives, illuminates his struggle to uncover the truth about the history of Soviet Russia and his anguish over his earlier allegiances not only to Lenin but to Karl Marx as well. When intellectuals in Eastern Europe and China are going through the same soul-searching process, this book is especially timely.

A wry, cutting deconstruction of the Communist empire by one of Eastern Europe's exceptional authors. Called "a perceptive and amusing social critic, with a wonderful eye for detail" by The Washington Post, Slavenka Drakulic-a native of Croatia-has emerged as one of the most popular and respected critics of Communism to come out of the former Eastern Bloc. In A Guided Tour Through the Museum of Communism, she offers a eight-part exploration of Communism by way of an unusual cast of narrators, each from a different country, who reflect on the fall of Communism. Together they constitute an Orwellian send-up of absurdities during the final years of European Communism that showcase this author's tremendous talent.