Esfir’ Shub: From Inspiration to Abjection

Esfir’ Shub: From Inspiration to Abjection

Esfir Shub, Fall of the Romanov Dynasty (still), 1927.
Esfir’ Shub: From Inspiration to Abjection
Screening and Book Presentation

Student $7
General $10

Date
February 19, 2026, 7pm
172 Classon Avenue
Brooklyn NY 11205
USA
Join us at e-flux Screening Room on Thursday, February 19, 2026, at 7pm for Esfir’ Shub: From Inspiration to Abjection, a screening and book presentation with Keith Sanborn.
 
This evening will attempt to reveal something of the trajectory of Esfir’ Shub from Leninist true believer to Stalinist conformist, from innovator in the “non-acted” film to self-effacing hagiographer. The course will be charted via two films, bookending her career: Fall of the Romanov Dynasty (1927) and With Heartfelt Sincerity (1949). The evening will be introduced by Keith Sanborn, who has recently finished the first extensive English translation of Shub's writings: My Life is the Cinema, published by Sticking Place Books. Sanborn will also be available to discuss Shub's work after the screening, when a limited number of copies of the book will be available for purchase.

Films
 
Esfir’ Shub, Fall of the Romanov Dynasty (1927, 87 minutes)
The film was commissioned to celebrate the 10th Anniversary of the Russian Revolution. It is one of the first feature length compilation films, that is, a film made from other films. In this case, pre-existing documentary film materials ranging from newsreels to the work of the tsar’s personal cinematographer(s), supplemented by rephotographed paper documents and a biting commentary in its intertitles. It is a panoramic record of the Russian Imperial landscape before, during, and after WWI, culminating in the February bourgeois revolution and the leadup to the October Revolution. Its form of montage is a slow burn, gradually building to finally and inevitably erupt in the mass uprising of the people against the imperial capitalist system. 
 
Esfir’ Shub, With Heartfelt Sincerity (1949, 17 minutes)
A film record of the gifts and gift-givers to comrade Stalin on the occasion of his 70th birthday in 1948. The majority of the action takes place in the Halls of Gifts to Comrade Stalin in the Museum of the Revolution in Moscow. Though Shub did not give any credits for this ikon as if not made by human hands, the records of the Russian State Archive of Literature and Art in Moscow and the Russian State Documentary Film and Photo Archive in Krasnogorsk clearly show her participation. Perhaps an offer she couldn’t refuse; in any case, she didn’t.

For more information, contact program@e-flux.com.

Accessibility
– Two flights of stairs lead up to the building’s front entrance at 172 Classon Avenue.
– For elevator access, please RSVP to program@e-flux.com. The building has a freight elevator nearest to 180 Classon Ave (garage door) leading into the e-flux office space. A ramp is available for steps within the space.
– e-flux has an ADA-compliant bathroom with no steps between the event space and this bathroom.
Category
Film, Avant-Garde
Subject
Experimental Film, Film, Film Theory, Soviet Union
Keith Sanborn is a filmmaker, theorist, and translator, working since the late Pleistocene Age. His film work has been included in surveys such as the Whitney Biennial of American Art and Monter-Sampler at the Pompidou Center as well as festivals such as Rotterdam and Oberhausen, and numerous one person shows. His films were the subject of a retrospective in 2025 at the Anthology Film Archives. His theoretical writings have been included in catalogues for the Museum of Modern Art and Exit Art among others and have appeared in publications such as Cinematographe and Artforum. His translations include the work of Debord, Viénet, Wollman, Lemaître, Bataille, Ruiz, Kuleshov, Gioli, and Napoleon. His most recent translations are When the Eye Trembles by Jean-Michel Bouhours and My Life is the Cinema by Esfir’ Shub.


Esfir Shub
(1894–1959) was a Soviet editor and filmmaker widely credited with pioneering the compilation documentary. She began her work at the state studios Goskino, recutting imported feature films for Soviet distribution, and went on to edit Russian feature films before moving into nonfiction. There, she systematically researched and organized pre-revolutionary footage for her own projects. Her key works, The Fall of the Romanov Dynasty (1927), The Great Road (1927), and Leo Tolstoy and the Russia of Nicholas II (1928), remain among the defining examples of Soviet documentary montage.

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