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In 1936 the Mongolian socialist government decreed the establishment of a film industry with the principal aim of disseminating propaganda to the largely nomadic population. The government sent promising young rural Mongolian musicians to Soviet conservatoires to be trained formally as composers. On their return they utilised their traditional Mongolian musical backgrounds and the musical skills learned during their studies to compose scores to the 167 propaganda films produced by the state film studio between 1938 and 1990. Lucy M. Rees provides an overview of the rich mosaic of music genres that appeared in these film soundtracks, including symphonic music influenced by Western art music, modified forms of Mongolian traditional music, and a new genre known as ’professional music’ that combined both symphonic and Mongolian traditional characteristics. Case studies of key composers and film scores are presented, demonstrating the influence of cultural policy on film music and showing how film scores complemented the ideological message of the films. There are discussions of films that celebrate the 1921 Revolution that led to Mongolia becoming a socialist nation, those that foreshadowed the 1990 Democratic Revolution that drew the socialist era to a close, and the diverse range of films and scores produced after 1990 in the aftermath of the socialist regime.
In 1936 the Mongolian socialist government decreed the establishment of a film industry with the principal aim of disseminating propaganda. It sent young rural Mongolian musicians to Soviet conservatoires to be trained formally as composers. On their return they utilized their traditional Mongolian musical backgrounds and the musical skills learned during their studies to compose scores to the 167 propaganda films produced between 1938 and 1990. Lucy Rees provides an overview of the rich mosaic of music genres that appeared in these soundtracks. Case studies of composers and film scores are presented, demonstrating the influence of cultural policy on film music and showing how film scores complemented the ideological message of the films.
In 1936 the Mongolian socialist government decreed the establishment of a film industry with the principal aim of disseminating propaganda to the largely nomadic population. The government sent promising young rural Mongolian musicians to Soviet conservatoires to be trained formally as composers. On their return they utilised their traditional Mongolian musical backgrounds and the musical skills learned during their studies to compose scores to the 167 propaganda films produced by the state film studio between 1938 and 1990. Lucy M. Rees provides an overview of the rich mosaic of music genres that appeared in these film soundtracks, including symphonic music influenced by Western art music, modified forms of Mongolian traditional music, and a new genre known as ‘professional music’ that combined both symphonic and Mongolian traditional characteristics. Case studies of key composers and film scores are presented, demonstrating the influence of cultural policy on film music and showing how film scores complemented the ideological message of the films. There are discussions of films that celebrate the 1921 Revolution that led to Mongolia becoming a socialist nation, those that foreshadowed the 1990 Democratic Revolution that drew the socialist era to a close, and the diverse range of films and scores produced after 1990 in the aftermath of the socialist regime.
Land-locked between its giant neighbors, Russia and China, Mongolia was the first Asian country to adopt communism and the first to abandon it. When the Soviet Union collapsed in the early 1990s, Mongolia turned to international financial agencies—including the International Monetary Fund, the World Bank, and the Asian Development Bank—for help in compensating for the economic changes caused by disruptions in the communist world. Modern Mongolia is the best-informed and most thorough account to date of the political economy of Mongolia during the past decade. In it, Morris Rossabi explores the effects of the withdrawal of Soviet assistance, the role of international financial agencies in supporting a pure market economy, and the ways that new policies have led to greater political freedom but also to unemployment, poverty, increasingly inequitable distribution of income, and deterioration in the education, health, and well-being of Mongolian society. Rossabi demonstrates that the agencies providing grants and loans insisted on Mongolia's adherence to a set of policies that did not generally take into account the country's unique heritage and society. Though the sale of state assets, minimalist government, liberalization of trade and prices, a balanced budget, and austerity were supposed to yield marked economic growth, Mongolia—the world's fifth-largest per capita recipient of foreign aid—did not recover as expected. As he details this painful transition from a collective to a capitalist economy, Rossabi also analyzes the cultural effects of the sudden opening of Mongolia to democracy. He looks at the broader implications of Mongolia's international situation and considers its future, particularly in relation to China.
This book celebrates the power of music, dance, and oral narrative to create identities by imaginatively connecting performers and audiences with ethnic and political groupings, global and sacred landscapes, histories and heroes, spirits and gods.Three distinct cultural eras of Mongolian society are represented. Many Mongolsare now performing publicly the diverse traditions of Old Mongolia that they practised in private following the communist revolution of 1921; some are perpetuating the Soviet transformations of those traditions introduced prior to 1990; and yet others are dipping their curly-toed boots into new performance arts as they revel in musical encounters on the global stage. By highlighting the sheer variety ofrepertories, this book illustrates the rich diversity of Mongolia's peoples andperformance arts.An accompanying compact disc contains musical examples linked to the text.Carole Pegg is ethnomusicology editor for the New Grove Dictionary of Musicand Musicians and associate lecturer in social anthropology at the University of Cambridge, England. As an ethno-musicologist and musician she has been working with nomadic groups in remote areas of Mongolia and Inner Mongolia, China, and with urban Mongols in both countries since 1987. She has also toured with Mongol musicians in England and Hong Kong.
The Cold War shaped the world we live in today - its politics, economics, and military affairs. This book shows how the globalization of the Cold War during the last century created the foundations for most of the key conflicts we see today, including the War on Terror. It focuses on how the Third World policies of the two twentieth-century superpowers - the United States and the Soviet Union - gave rise to resentments and resistance that in the end helped topple one superpower and still seriously challenge the other. Ranging from China to Indonesia, Iran, Ethiopia, Angola, Cuba, and Nicaragua, it provides a truly global perspective on the Cold War. And by exploring both the development of interventionist ideologies and the revolutionary movements that confronted interventions, the book links the past with the present in ways that no other major work on the Cold War era has succeeded in doing.
Finalist for the Pulitzer Prize • Winner of the Council on Foreign Relations Arthur Ross Book Award • One of the New York Times' Ten Best Books of the Year “Impressive . . . Mr. Judt writes with enormous authority.” —The Wall Street Journal “Magisterial . . . It is, without a doubt, the most comprehensive, authoritative, and yes, readable postwar history.” —The Boston Globe Almost a decade in the making, this much-anticipated grand history of postwar Europe from one of the world's most esteemed historians and intellectuals is a singular achievement. Postwar is the first modern history that covers all of Europe, both east and west, drawing on research in six languages to sweep readers through thirty-four nations and sixty years of political and cultural change-all in one integrated, enthralling narrative. Both intellectually ambitious and compelling to read, thrilling in its scope and delightful in its small details, Postwar is a rare joy. Judt's book, Ill Fares the Land, republished in 2021 featuring a new preface by bestselling author of Between the World and Me and The Water Dancer, Ta-Nehisi Coates.
“An important and much-needed introduction to this rich and fast-growing field. Hershatter has handled a daunting task with aplomb.” —Susan L. Glosser, author of Chinese Visions of Family and State, 1915–1953