In the years following Joseph Stalin's death in 1953, Soviet filmmakers increasingly integrated documentary elements into fiction films, transforming attributes of nonfiction into a range of expressive devices. As these projects blurred the line between invention and reality, fictional images came to claim new authority as representations of history, everyday life, and social conditions.

Soviet Docufictions shows how stylistic innovation and new technologies reshaped Soviet cinematic realism and its claims to truth. The aesthetic developments and critical debates of the thaw era of the 1950s and 1960s unfolded within a state-controlled film industry shaped by the scrutiny of colleagues, critics, and bureaucrats. Exploring this tension between experimentation and institutional oversight, Zdenko Mandušić traces debates over style and cultural values and their influence on filmmakers’ engagement with documentary forms. Analyzing canonical and lesser-known Soviet Russian films, he examines the use of handheld cameras, documentary sequences and newsreel footage, location shooting, non-professional actors, and formal strategies involving cinematography, colour, and editing. Situating these developments within their historical context, the book also reveals how escalating political restrictions and suppression constrained docufictional experimentation.

Illuminating the intersections of cinema, technology, and social change, Soviet Docufictions draws connections between Soviet and global history, film and media, visual culture, art, and politics.