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This article examines the transnational distribution and reception of the Soviet film The Cranes Are Flying (1957). Drawing on official correspondence, ego-documents and state security agency sources discovered in Russian and US archives, it presents a case study of a letter written by a US citizen after watching the film in the UK. Putting contextual factors of historical film reception at the forefront, this study analyses how the film was domesticated by a black activist from Chicago.
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Kristina A. Tanis (2026) studied this question.
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