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By Sudha Rajagopalan

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Sources This dissertation is a product of both archival and ethnographic investigations in Moscow and its suburbs. Research was conducted at the State Archive ofthe Russian Federation (GARF), the Russian State Archive for Contemporary History (RGANI), the Russian State Archive for Literature and Art (RGALI), Rusexportfil'm (formerly Soveksportfil'm) archives, the Goskino archives, the Russian State Library, and the libraries of Rosinformkino, the Film Center, the State Institute of Cinematography (VGJK), the Institute for Scientific Research on Cinema (NIJK) and the Institute for Scientific Information in the Social Sciences (INION).

Earlier, an art form's aura of authenticity sustained its distance from the viewing public. Now, the diminishing of the distance between new reproducible art forms such as the ftlm and the audience transformed spectators into experts. Thus, in contrast to Adorno and the Frankfurt school theorists, Benjamin emphasized the audience's critical sensibility as being fundamental to the democratizing potential of mass culture. Moreover, because of the reproducibility of modern artistic forms, the audience had an opportunity to become participants in the making of the art product In fact, 28 John B.

However, published letters always undergo a process of selection and only fragments make it to the journal pages. Additionally, writing letters to journals represents only one form of reception and these letters cannot indicate the range of ways in which films were appreciated. Therefore, such letters cannot be the exclusive source for studying historical reception. Undaunted by the paucity of data on audience reception in history, some scholars have persisted in the effort to understand spectators' interpretations offllms in the past.

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A Taste for Indian films Negotiating cultural boundaries in post-Stalinist Soviet society by Sudha Rajagopalan


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