39. Brown, Proletarian Episode, p. 88.
40. Brown, Proletarian Episode, p. 89.
41. Ermolaev, Soviet Literary Theories, pp. 94–5.
42. Barron, ‘Modern Art and Polities’, p. 9; for a memoir of the exhibition see P. Guenther Three Days in Munich, July 1937’, in Barron, ‘Degenerate Art’, pp. 33–43.
43. W. Moritz ‘Film Censorship during the Nazi Era’, in Barron, ‘Degenerate Art’, p. 190; Meyer, ‘Musical Façade’, pp. 180–82.
44. O. Figes Natasha’s Dance: a Cultural History of Russia (London, 2002), pp. 476–7; P. Kenez Cinema and Soviet Society: From the Revolution to the Death of Stalin (London, 2001), pp. 94–5.
45. J. Garrard and C. Garrard Inside the Soviet Writers’ Union (London, 1990), pp. 31–2; Golomstock, Totalitarian Art, pp. 93–4.
46. Fitzpatrick, Cultural Front, pp. 197–8.
47. Vickery, ‘Zhadanovism’, pp. 101–5.
48. R. A. Brady The Spirit and Structure of German Fascism (London, 1937), pp. 90–91; Barron, ‘Modern Art and Polities’, p. 10; E. Fröhlich ‘Die kultur-politicische Pressekonferenz des Reichspropagandaministeriums’, Vierteljahrshefte für Zeitgeschichte, 22 (1974), pp. 353–6; V. Dahm ‘Der Reichskulturkammer als Instrument Kulturpolitischer Stenerung und Sozialer Reglementierung’, Vierteljahrshefte für Zeitgeschichte, 34 (1986) pp. 53–84; J. Petropoulos ‘A Guide through the Visual Arts Administration of the Third Reich’, in Cuomo, National Socialist Cultural Policy, pp. 121–52.
49. Brady, Spirit and Structure, p. 92.
50. S. Roberts The House that Hitler Built (London, 1937), p. 242; J. London (ed.) Theatre Under the Nazis (Manchester, 2000), pp. 8–9, 12.
51. Brady, Spirit and Structure, p. 88.
52. Steinweis, ‘Weimar Culture’, pp. 406–19.
53. Steinweis, Art;, Ideology, and Economics, pp. 4–6.
54. Golomstock, Totalitarian Art, pp. 220–22; Garrard and Garrard, Soviet Writers’Union, p. 24; Hingley, Russian Writers and Society, p. 207.
55. Steinweiss, Art, Ideology and Economics, pp. 74–9, 81–95.
56. J. W. Baird To Die for Germany: Heroes in the Nazi Pantheon (Bloom-ington, Ind., 1990), p. 145.
57. Baird, To Die for Germany, pp. 146–7.
58. Baird, To Die for Germany, p. 148.
59. E. J. Simmons ‘The Organization Writer (1934–46)’, in Hayward and Labedz, Literature and Revolution, pp. 84–5; Tregub, The Heroic Life of Nikolai Ostrovsky, pp. 7, 14, 38.
60. T. Lahusen How Life Writes the Book: Real Socialism and Socialist Realism in Stalin’s Russia (Ithaca, NY, 1997), pp. 13–15, 48–50, 53, 64–8, 79–80, 189–91.
61. R. Bartlett Wagner in Russia (Cambridge, 1995), pp. 227, 259–67, 271–2, 288–9.
62. Figes, Natasha’s Dance, pp. 480–81; Simmons, The Organization Writer’, p. 96; Fitzpatrick, Cultural Front, p. 207.
63. H. Ermolaev Censorship in Soviet Literature (Lanham, Md, 1997), p. 53.
64. Clark, The Soviet Novel, p. 4; M. Gorky Mother (Moscow, 1949). The introduction claimed: ‘though it was written ten years before the establishment of Soviet power in Russia, we count it the fi rst stone laid in the foundations of Soviet literature’ (p. 5).
65. Yedlin, Maxim Gorky, pp. 178, 180–83, 186, 192–3, 209 ff.
66. E. Levi Music in the Third Reich (London, 1994), pp. 178–82; P. McGilli-gan Fritz Lang: the Nature of the Beast (London, 1997), pp. 173, 174–6.
67. Levi, Music in the Third Reich, pp. 98–9, 192–3.
68. Meyer, ‘Musical Façade’, p. 175; on literary conventions see J. M. Ritchie German Literature under National Socialism (London, 1983), pp. 96–101; T. Alkemeyer and A. Pichantz ‘Insezenierte Körperträume: Reartikulation von Herrschaft und Selbstbeherrschung in Körperbildern des Faschismus’, in U. Hermann and U. Nassen (eds) Formative Ästhetik im Nationalsozialismus. Intentionen, Medien und Praxisformen totalitärer ästhetischer Herrschaft und Beherrschung (Weinheim, 1994), p. 88; R. Taylor Literature and Society in Germany 1918–1945 (Brighton, 1980), pp. 236–44.
69. Ermolaev, Censorship in Soviet Literature, pp. 1–6; G. V. Kostyrchenko ‘Soviet Censorship in 1945–52’, Voprosii istorii, 11–12 (1996), pp. 87–8.
70. Ermolaev, Censorship in Soviet Literature, pp. 7, 57; Kostyrchenko, ‘Soviet Censorship’, p. 92, gives the number of censors in the organization as 1,000; J. Plumper ‘Abolishing Ambiguity: Soviet Censorship Practices in the 1930s’, Russian Review, 60 (2001), pp. 527–8, 533.
71. Ermolaev, Censorship in Soviet Literature, p. 57; Kostyrchenko, ‘Soviet Censorship’, p. 92, gives the following fi gures for censorship work during the war: 235,031 newspaper editions checked; 207,942 Journal articles; 71,740 books; 158,998 brochures.
72. Plumper, ‘Abolishing Ambiguity’, pp. 530–31.
73. Plumper, ‘Abolishing Ambiguity’, pp. 535–7.
74. Plumper, ‘Abolishing Ambiguity’, p. 527.
75. Reid, ‘Socialist Realism’, p. 179.
76. Ermolaev, Censorship in Soviet Literature, pp. 43–5, 56; V. G. Lebedeva Totalitarian and Mass Elements in Soviet Culture of the 1930s’, Russian Studies in History, 42 (2003), pp. 81–4. On Fadayev see Vickery, ‘Zhdanov-ism’, pp. 114–15; R. Cockrell (ed.), introduction to A. Fadeev The Rout (London, 1995), pp. xi – xii.
