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1. B. Brecht Poems 1913–1956 (London, 1976), p. 294.

2. S. Reid ‘Socialist Realism in the Stalinist Terror: the Industry of Socialism Art Exhibition, 1935–41’, Russian Review, 60 (2001), pp. 153–6.

3. S. Barron (ed.) ‘Degenerate Art’: the Fate of the Avant-Garde in Nazi Germany (New York, 1991), p. 17; P. Adam Arts of the Third Reich (London, 1992), pp. 36–7.

4. Reid, ‘Socialist Realism’, pp. 161–4.

5. Reid, ‘Socialist Realism’, pp. 169–72.

6. Reid, ‘Socialist Realism’, pp. 169, 173–4, 179.

7. Barron, ‘Degenerate Art’, p. 17; F. Spotts Hitler and the Power of Aesthetics (London, 2002), pp. 171–2; Adam, Arts of the Third Reich, p. 94.

8. Spotts, Hitler and the Power of Aesthetics, pp. 171, 176; Barron, ‘Degenerate Art’, p. 18; R. S. Wistrich Weekend in Munich: Art, Propaganda and Terror in the Third Reich (London, 1995), pp. 80, 82–3.

9. Reid, ‘Socialist Realism’, pp. 182–3.

10. Spotts, Hitler and the Power of Aesthetics, p. 172.

11. Adam, Arts of the Third Reich, p. 114; Spotts, Hitler and the Power of Aesthetics, p. 169; Reid, ‘Socialist Realism’, p. 168.

12. H. Ermolaev Soviet Literary Theories 1917–1934: the Genesis of Socialist Realism (New York, 1977), pp. 144, 147; K. Clark The Soviet Novel: History as Ritual (Bloomington, Ind., 2000), pp. 27–31.

13. Ermolaev, Soviet Literary Theories, p. 145; T. Yedlin Maxim Gorky: a Political Biography (Westport, Conn., 1999), pp. 198–9.

14. Ermolaev, Soviet Literary Theories, pp. 166–7.

15. S. Fitzpatrick The Cultural Front: Power and Culture in Revolutionary Russia (Ithaca, NY, 1992), pp. 187–8; Pravda, 28 January 1936. Attacks on Shostakovich were followed by an article in Pravda on 6 February 1936 on modern ballet (‘ballet’s trickery’) and, in the issue for 20 February, on modern building, ‘cacophony in architecture’.

16. I. Golomstock Totalitarian Art (London, 1990), p. 174.

17. R. Hingley Russian Writers and Society 1917–1978 (London, 1979), pp. 198–200.

18. Golomstock, Totalitarian Art, p. 179.

19. S. Tregub The Heroic Life of Nikolai Ostrovsky (Moscow, 1964), pp. 4, 38, 47.

20. W. N. Vickery ‘Zhdanovism (1946–1953)’, in M. Hayward and L. Labedz (eds) Literature and Revolution in Soviet Russia 1917–1962 (Oxford, 1963), p. 110.

21. E. J. Brown The Proletarian Episode in Russian Literature 1928–1932 (New York, 1953), p. 88.

22. Golomstock, Totalitarian Art, p. 86; Ermolaev, Soviet Literary Theories, p. 197.

23. M. Meyer ‘A Musical Facade for the Third Reich’, in Barron ‘Degenerate Art’, p. 174; Golomstock, Totalitarian Art, p. 169.

24. Golomstock, Totalitarian Art, pp. 184–5.

25. Barron, ‘Degenerate Art’, p. 46; Golomstock, Totalitarian Art, p. 83; D. Welch ‘Nazi Film Policy: Control, Ideology, and

Propaganda’, in G. R. Cuomo (ed.) National Socialist Cultural Policy (London, 1995), p. 98.

26. Adam, Arts of the Third Reich, p. 94.

27. E. Bahr ‘Nazi Cultural Politics: Intentionalism vs. Functionalism’, in Cuomo, National Socialist Cultural Policy, p. 9.

28. A. Steinweis Art, Ideology, and Economics in Nazi Germany (Chapel Hill, NC, 1993), p. 22.

29. Golomstock, Totalitarian Art, pp. 81–3; L. Richard Le Nazisme et la Culture (Brussels, 1988), pp. 184–90.

30. Golomstock, Totalitarian Art, p. 83.

31. Spotts, Hitler and the Power of Aesthetics, p. 176; Golomstock, Totalitarian Art, pp. 150–51.

32. Yedlin, MaximGorky, p. 199;Golomstock, TotalitarianArt, pp. 183, 191.

33. Barron, ‘Degenerate Art’, p. 174.

34. A. Lawton (ed.) Russian Futurism through its Manifestoes, 1912–1928 (Ithaca, NY, 1988), p. 253.

35. A. Gladkov Meetings with Pasternak: a Memoir (London, 1977), p. 72.

36. L. Mally Culture of the Future: the Proletkult Movement in Revolutionary Russia (Berkeley, 1990), pp. 246–50, 253–5.

37. Lawton, Russian Futurism, p. 48.

38. V. Erlich Russian Formalism: History – Doctrine (3rd edn, New Haven, Conn., 1981), pp. 99–103, 118.

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.