Danzig Baldaev's unparallelled ethnographic achievement, documenting more than 3,000 tattoo drawings, was made during a lifetime working as a prison guard. His recording of this esoteric world was reported to the KGB, who unexpectedly supported him, realizing the importance of being able to establish facts about convicts by reading the images on their bodies. The motifs depicted represent the uncensored lives of the criminal classes, ranging from violence and pornography to politics and alcohol. A medieval knight is surrounded by the severed heads of his enemies, a naked woman simultaneously services a man and two dwarfs, a crying President Gorbachev grips a human bone between sabre-like fangs, a group of angels drink vodka with God on a cloud--the meanings of these arresting images are explained to the uninitiated eye. Sergei Vasiliev's graphic photographs show the grim reality of the Russian prison system and some of the alarming characters that inhabit it, while the illustrated criminals of Russia tell the tale of their closed society. This volume, the last in the trilogy, includes an introduction by historian Alexander Sidorov exploring the origins of the Russian criminal tattoo and their various meanings today.

    For the first time it brings together crucial shorter works, to show that Lenin held a life-long commitment to freedom and democracy. Le Blanc has written a comprehensive introduction, which gives an accessible overview of Lenin's life and work, and explains his relevance to political thought today.Lenin has been much maligned in the mainstream, accused of viewing 'man as modeling clay' and of 'social engineering of the most radical kind.' However, in contrast to today's world leaders, who happily turn to violence to achieve their objectives, Lenin believed it impossible to reach his goals 'by any other path than that of political democracy.'This collection will be of immense value to students encountering Lenin for the first time, and those looking for a new interpretation of one of the 20th century's most inspiring figures.

    This extraordinarily detailed study charts the history of Soviet cars from the birth of the Soviet Union in 1917 until its demise in 1990, with a conclusion about the post-Soviet era. It is the story of an insular, state-run car industry in which the carefully thought-out ideas of ministerial planners, rather than fickle customers in a free market, determined what cars were made in a country where the open road was often a 300-mile track across a windswept steppe. This is a fascinating book, full of rarely seen photographs and illustrations, largely in color, that will interest all car enthusiasts.

    This history of the Communist (Third) International, from its beginnings in 1919 as the center of world revolution through its degeneration at the hands of the Stalinist bureaucracy, draws out lessons valid today to the work of building bridges to unite and rebuild a Left capable of fighting for radical social change.

    It looks at Stalinist cinema and its role in the production of history. Cinema's role in the legitimization of Stalinism and the production of a new Soviet identity was enormous. Both Lenin and Stalin saw in this 'mostimportant of arts' the most effective form of propaganda and 'organisation of the masses'. By examining the works of the greatest Soviet filmmakers of the Stalin era--Sergei Eisenstein, Vsevolod Pudovkin, Grigorii Kozintsev, Leonid Trauberg, Fridrikh Ermler--the author explores the role of thecinema in the formation of the Soviet political imagination.