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  3. Inside Soviet film satire: laughter with a lash

Inside Soviet film satire: laughter with a lash

Andrew Horton
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  • Contents

  • Reviews

  • Frontmatter
  • Foreword: If life itself is a satire . . . (DR. KIRILL RAZLOGOV, page vii)
  • Acknowledgments (page ix)
  • Editor's note (page xi)
  • Introduction: Carnival versus lashing laughter in Soviet cinema (ANDREW HORTON, page 1)
  • Part One The long view: Soviet satire in context
    • I Soviet film satire yesterday and today (VALENTIN TOLSTYKH (TRANSLATED FROM THE RUSSIAN BY ANDREW ANDREYEV), page 17)
    • II A Russian Munchausen: Aesopian translation (KEVIN MOSS, page 20)
    • III "We don't know what to laugh at": Comedy and satire in Soviet cinema (from The Miracle Worker to St. Jorgen's Feast Day) (DENISE J. YOUNGBLOOD, page 36)
    • IV An ambivalent NEP satire of bourgeois aspirations: The Kiss of Mary Pickford (PETER CHRISTENSEN, page 48)
    • V Closely watched drains: Notes by a dilettante on the Soviet absurdist film (MICHAEL BRASHINSKY, page 58)
  • Part Two Middle-distance shots: The individual satire considered
    • VI A subtextual reading of Kuleshov's satire the Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924) (VLADA PETRIC, page 65)
    • VII The strange case of the making of Volga, Volga (MAYA TUROVSKAYA (TRANSLATED FROM THE RUSSIAN BY ANDREW ANDREYEV), page 75)
    • VIII Circus of 1936: Ideology and entertainment under the big top (MOIRA RATCHFORD, page 83)
    • IX Black humor in Soviet cinema (OLGA REIZEN, page 94)
    • X Laughter beyond the mirror: Humor and satire in the cinema of Andrei Tarkovsky (VIDA T. JOHNSON, page 98)
    • XI The films of Eldar Shengelaya: From subtle humor to biting satire (JULIE CHRISTENSEN, page 105)
  • Part Three Close-ups: Glasnost and Soviet satire
    • XII A forgotten flute and remembered popular tradition (GRETA N. SLOBIN, page 117)
    • XIII Perestroika of kitsch: Sergei Soloviev's Black Rose, Red Rose (SVETLANA BOYM, page 125)
    • XIV Carnivals bright, dark, and grotesque in the glasnost satires of Mamin, Mustafayev, and Shakhnazarov (ANDREW HORTON, page 138)
    • XV Quick takes on Yuri Mamin's Fountain from the perspective of a Romanian (ANDREI CODRESCU, page 149)
    • XVI "One should begin with zero": A discussion with satiric filmmaker Yuri Mamin (ANDREW HORTON, page 154)
  • Filmography (page 157)
  • Contributors (page 165)
  • Index (page 167)
Reviews
Journal AbbreviationLabelURL
SEEJ 39.2 (Summer 1995): 308-309 http://www.jstor.org/stable/309399
SEER 74.3 (Jul. 1996): 524-526 http://www.jstor.org/stable/4212178
FQ 47.4 (Summer 1994): 45-46 http://www.jstor.org/stable/1212988
EAS 48.1 (Jan. 1996): 163-165 http://www.jstor.org/stable/152920
Citable Link
Published: c1993
Publisher: Cambridge University Press
ISBN(s)
  • 9781139085588 (ebook)
  • 9780521430166 (hardcover)
  • 9780521021074 (paper)
Series
  • Cambridge Studies in Film
Subject
  • Film & Media Studies
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