Relevant bibliographies by topics / Soviet comedy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Soviet comedy'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Soviet comedy"

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KUPFER, PETER. "‘Our Soviet Americanism’:Jolly Fellows, Music, and Early Soviet Cultural Ideology." Twentieth-Century Music 13, no. 2 (2016): 201–32. http://dx.doi.org/10.1017/s1478572216000049.

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AbstractThe musical comedy film was perhaps a surprising genre to appear and flourish in the Soviet Union during the 1930s, a decade traditionally associated with the grimmer realities of Stalin's ruthless consolidation of power, show trials, and purges. Despite (and in many ways because of) this, the musical comedy became quite popular, with audiences and officials alike. Its creation did not, however, proceed without controversy or difficulty. In this article, I examine how director Grigory Aleksandrov and composer Isaak Dunayevsky drew on well-known and well-liked American musical and cinem
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Condren, Dustin. "Notes toward an untimely Soviet comedy: Eisenstein’s MMM." Studies in Russian and Soviet Cinema 15, no. 1 (2021): 2–22. http://dx.doi.org/10.1080/17503132.2020.1870284.

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Kupfer, Peter. "Volga-Volga." Journal of Musicology 30, no. 4 (2013): 530–76. http://dx.doi.org/10.1525/jm.2013.30.4.530.

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Volga-Volga (1938), the third musical comedy made by the Soviet director-composer team of Grigory Aleksandrov and Isaak Dunayevsky, is one of the most emblematic films of the Soviet 1930s. Indeed, it won its makers a Stalin Prize in 1941 and was supposedly Stalin’s favorite film. But Volga-Volga was also a success with Soviet viewers: they flocked by the millions to see the film, which was still playing in theaters at the outbreak of war in June 1941. As a combination of slapstick comedy and memorable musical numbers that addressed an appropriately Soviet theme, the film clearly spoke to both
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Fowler, Mayhill C. "What Was Soviet and Ukrainian About Soviet Ukrainian Culture? Mykola Kulish’sMyna Mazailoon the Soviet Stage." Nationalities Papers 47, no. 3 (2019): 355–65. http://dx.doi.org/10.1017/nps.2019.12.

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AbstractIn the Soviet Union theatre was an arena for cultural transformation. This article focuses on theatre director Les Kurbas’ 1929 production of playwright Mykola Kulish’sMyna Mazailo, a dark comedy about Ukrainianization, to show the construction of “Soviet Ukrainian” culture. While the Ukrainian and the Soviet are often considered in opposition, this article takes the culture of the Ukrainian Soviet Socialist Republic seriously as a category. Well before Stalin’s infamous adage “national in form and socialist in content,” artists like Kulish and Kurbas were engaged in making art that wa
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Novikov, A. D. "COMEDY “ALIEN CHILD” BY V. SHKVARKIN IN ESTIMATES OF SOVIET CRITICISM." Tomsk State Pedagogical University Bulletin, no. 1 (2019): 49–57. http://dx.doi.org/10.23951/1609-624x-2019-1-49-57.

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Vaseneva, Nadezhda Vladimirovna. "Reception of the B. Shaw’s play "Pygmalion" in Russian literature." SHS Web of Conferences 101 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202110101004.

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The article is devoted to the analysis of reception of B. Shaw's play «Pygmalion» in Russian literature. The article emphasizes that Russian literature had a huge impact on the formation and development of B. Shaw's aesthetic system and drama, as a result of which B. Shaw's drama acquired an epic character. The standard of «epic drama» is B. Shaw's play «Pygmalion». The extreme popularity, relevance and significance of B. Shaw's comedy «Pygmalion» for Russian literature are noted. The article examines translations of B. Shaw's play «Pygmalion» and individual-author's interpretations of Russian
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Kovačević, Ivan, and Vladimir Ribić. "“The Russians are coming, the Russians are coming” – an apology of detente." Issues in Ethnology and Anthropology 9, no. 2 (2016): 335. http://dx.doi.org/10.21301/eap.v9i2.4.

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The 1966 film The Russians are coming, the Russians are coming is a film which promotes the politics of detente in America. After cold war era films in which the Soviets are exclusively portrayed as spies endangering America, this is the first film to portray them as positive characters, while ridiculing those who propagate war and confrontation. After the Cuban crisis and the process of stopping the spread of nuclear weapons it was necessary to show the American public the funny face of detente. In the comedy about sailors from a stranded Soviet submarine confrontation is always possible but
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Vorobyeva, Maria. "Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil." European Journal of Humour Research 9, no. 1 (2021): 155–74. http://dx.doi.org/10.7592/ejhr2021.9.1.vorobyeva.

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Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fa
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Linden, Anna L. "Chekhov Vs. Gor'Kii and the Moscow Arts Theater." Russian History 18, no. 1-4 (1991): 501–28. http://dx.doi.org/10.1163/187633191x00182.

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AbstractFor most of the twentieth century readers have been wondering how the version of A. P. Chekhov's famous play The Cherry Orchard could be subtitled "A Comedy." Unknown until now is the fact that Chekhov's manuscript was rewritten by the directors of the Moscow Arts Theater for a combination of political, aesthetic, and commercial reasons. This has been unknown until now because A. M. Gor'kii simultaneously wrote a competing play The Summer-Tenants which failed almost completely. Out of loyalty to Gor'kii's memory, Soviet scholarship for over seven decades concealed the true story of The
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Prokhorov, Aleksandr. "Cinema of Attractions versus Narrative Cinema: Leonid Gaidai’s Comedies and El'dar Riazanov’s Satires of the 1960s." Slavic Review 62, no. 3 (2003): 455–72. http://dx.doi.org/10.2307/3185801.

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Leonid Gaidai’s comedies of the 1960s owed their phenomenal success to Gaidai’s visual style of humor, which starkly contrasted to verbal instantiations of official Soviet ideology within narrative-driven Soviet cinema. An attentive comparison between Gaidai’s comedies and the satirical films of El'dar Riazanov accounts for the outstanding popularity of the former and the more modest success of the latter. What makes Gaidai unique is his interest in visual, especially physical, humor. Gaidai privileged key elements of physical comedy, such as the primacy of visual over verbal humor, an exhibit
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Dissertations / Theses on the topic "Soviet comedy"

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Skott, Julia. "Love in the age of communism : Soviet romantic comedy in the 1970s." Thesis, Stockholm University, Department of Cinema Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1117.

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<p>The author discusses three Soviet comedies from the</p><p>1970s: Moskva slezam ne verit (Moscow Does Not Believe</p><p>in Tears, Vladimir Menshov, 1979), Osenniy marafon</p><p>(Autumn Marathon, Georgi Daneliya, 1979), and Ironiya</p><p>Sudby, ili S lyogkim parom (Irony of Fate, Eldar</p><p>Ryazanov, 1975), and how they relate to both</p><p>conventions of romance and conventions of the</p><p>mainstream traditions of the romantic comedy genre.</p><p>The text explores the evolution of the genre and</p><p>accompanying theoretic writings, and relates them to</p><p>the Soviet films, focusing larg
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Decker, Pamela. "Theatrical Spectatorship in the United States and Soviet Union, 1921-1936: A Cognitive Approach to Comedy, Identity, and Nation." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371461287.

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Něudačina, Natalija. "Sovětská filmová komedie konce 60. a 70. let." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-393676.

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The subject of this thesis is a genre analysis of Soviet film comedies of the late 60s and the 70s that is based on the reception and production history data. The aim of this research is to grasp this type of comedy as a specific political and socially-cultural phenomenon of the Eastern bloc and its relation to Soviet popular culture. A methodology of the genre analysis will derive from Rick Altman's semantic-syntactic approach, which will allow us to describe the chosen genre group as a complex genre trend set in the unique social, cultural, economic and in this particular case also ideologic
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Books on the topic "Soviet comedy"

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Gogol, Nikolai Vasilevich. The inspector: A comedy in five acts. Theatre Communications Group, 2014.

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Pavlovich, Chekhov Anton. The Cherry Orchard: A comedy in four acts. Theatre Communications Group, 2015.

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Pavlovich, Chekhov Anton. The cherry orchard: A comedy in four acts. Sovereign, 2012.

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Russian television today: Primetime drama and comedy. Routledge, 2008.

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Caryl, Emerson, Pushkin Aleksandr Sergeevich 1799-1837, and Pushkin Aleksandr Sergeevich 1799-1837, eds. The uncensored Boris Godunov: The case for Pushkin's original comedy, with annotated text and translation. University of Wisconsin Press, 2005.

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Russian Comedy of the Nikolaian Era (Russian Theatre Archive, Vol 10). Routledge, 1997.

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Russian Comedy of the Nikolaian Era (Russian Theatre Archive (Paperback M.E. Sharpe)). Routledge, 1997.

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The Musical Comedy Films of Grigorii Aleksandrov. Intellect (UK), 2009.

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MacFadyen, David. Russian Television Today: Primetime Drama and Comedy. Taylor & Francis Group, 2011.

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Turgenev, Ivan Sergeevich, Larissa Volokhonsky (translator), and Richard Pevear. Month in the Country: A Comedy in Five Acts. Theatre Communications Group, Incorporated, 2015.

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Book chapters on the topic "Soviet comedy"

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Graham, Seth. "Soviet Film Comedy of the 1950s and 1960s." In A Companion to Russian Cinema. John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118424773.ch7.

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Costanzo, William V. "Russian Film Comedy." In When the World Laughs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0010.

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Soviet and Russian cinemas offer unique opportunities to investigate the role of humor as an escape from oppression and an instrument for change. This chapter follows the nation’s filmmakers from the idealistic days of revolution (Lev Kuleshov, Sergei Eisenstein, Aleksandr Medvedkin), through Stalin’s repressive regime (Grigory Aleksandrov and Ivan Pyrev) and the chills and thaws of the Cold War (Eldar Ryazanov, Leonid Gaidai, Tengiz Abuladze). It introduces lesser-known talents who made films before (Yevgeny Bauer, Boris Barnet) and after (Yuri Mamin, Kira Muratova, Valery Todorovskiy) the Soviet era. In their own ways, each of these directors contributed to a comic cinema that builds on the ironic sensibility of Chekhov, the satiric caricatures of Gogol, and the archetypes of Russia’s native folklore.
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"Bolsheviks Do Laugh (Thoughts on Soviet Comedy)." In Sergei Eisenstein. I.B.Tauris, 1996. http://dx.doi.org/10.5040/9780755699957.ch-008.

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"3. Comedy Soviet and Ukrainian? Il’f-Petrov and Ostap Vyshnia." In Beau Monde on Empire’s Edge. University of Toronto Press, 2017. http://dx.doi.org/10.3138/9781487513436-008.

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Laineste, Liisi. "Stand-up in Estonia: From Soviet estrada to Comedy Estonia." In ESTONIA AND POLAND: Creativity and tradition in cultural communication. ELM Scholarly Press, 2013. http://dx.doi.org/10.7592/ep.1.liisi.laineste.

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Kelly, Catriona. "Ludic Love." In Soviet Art House. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.003.0016.

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This chapter discusses the single movie made at Lenfilm by one of the USSR’s most important avant-garde directors, Kira Muratova. As she worked on the script, Muratova transformed a mild and sweet story about a pretty young factory worker, Lyuba, who was in love with two men at once, into a philosophical meditation on love. Yet any aspirations to deep thinking were constantly called into question by the playful nature of the representation. Music-hall effects, comedy repetition, and parodic echoes of Stalin-era official films jostle film noir and citations from new wave. Reactions at Lenfilm were wary, and the collaboration with Muratova ended at one film. But Getting to Know the Wide World remained Muratova’s favorite film even at the end of her life; though she resented the criticism that she got at Lenfilm, the frustration that it generated turned out to be creative.
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Kelly, Catriona. "Socialist Embarrassment." In Soviet Art House. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.003.0018.

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Viktor Tregubovich’s first movie, A Hot July, nearly wrecked his career at the outset, because it was a de-Stalinizing project begun mere months before the deposition of Khrushchev. Released after extensive production delays, the film had been reduced to mere tatters of the original endeavor. But Tregubovich rehabilitated himself with his gentle and offbeat movie about a tank battalion in combat, War Is War, and a series of remarkably diverse projects followed. Go If You’re Going provoked surprise at Lenfilm because it was a film comedy, and thus, his colleagues believed, a departure from Tregubovich’s established style. The laughter it provoked was decidedly uncomfortable, a point remarked (without enthusiasm) in studio discussions. Released after a significant delay, it became the subject of critical comment in a 1979 article by the deputy chairman of Goskino, Boris Pavlenok. Go If You’re Going is perhaps the nearest Lenfilm movie to the socialist “new wave” traditions of directors such as Jan Němec, a tribute to a filmmaking style that had resurfaced after nearly a decade in the cold.
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Youngblood, Denise J. "“We don't know what to laugh at”: Comedy and satire in Soviet cinema (from The Miracle Worker to St. Jorgen's Feast Day)." In Inside Soviet Film Satire. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511527135.006.

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Toropova, Anna. "‘If we cannot laugh like that, then how can we laugh?’." In Feeling Revolution. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198831099.003.0003.

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Elaborating an appropriate form of Soviet laughter was one of the most pressing tasks faced by the film industry in the 1930s. Increasingly sensitive to the ideological perils of failing to deliver more Soviet comedies to the public, industry bosses turned the development of this genre into a high priority. Such efforts, however, were persistently hindered by anxieties about facilitating the ‘mindless’ laughter of comic gags rather than the ‘meaningful’ laughter of triumphant celebration or satirical condemnation. Drawing on psychoanalytic readings of the comic, this chapter explores how the play with process of signification and disruption of habitual sense-making patterns became increasingly difficult to reconcile with the objectives of socialist realism. The thorny debates surrounding Konstantin Iudin’s two pre-war comedies, A Girl with Character (1939) and Hearts of Four (1941), are used to demonstrate the ways in which the project of creating film comedy based on Soviet material had come to a standstill by the beginning of the 1940s. The war against ‘mindless’ and ‘mechanical’ laughter pushed filmmakers to abandon the comic mode that had been so central to early Soviet cinema in preference for ego-affirming humour. The new paradigm of realistic comedy purged from the ‘excess’ of comic devices, however, little satisfied the expectations of Soviet audiences. Whilst the stultifying demands previously placed on the genre briefly eased as the Soviet public’s right to the ‘laughter of victors’ was granted after the end of WWII, the onset of the Zhdanovshchina brought post-war concessions in the sphere of comedy to a halt.
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Janco, Andrew. "KVN: Live television and improvised comedy in the Soviet Union, 1957–71." In Popular television in authoritarian Europe. Manchester University Press, 2013. http://dx.doi.org/10.7228/manchester/9780719082399.003.0008.

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Conference papers on the topic "Soviet comedy"

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Karluk, S. Rıdvan, and Ayşen Hiç Gencer. "Turkey and Uzbekistan Relations within the Scope of Economic and Political Integration of Central Asia." In International Conference on Eurasian Economies. Eurasian Economists Association, 2016. http://dx.doi.org/10.36880/c07.01466.

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After the collapse of the Soviet Union, Uzbekistan declared her sovereignty on June 20th, 1990 and her independence on September 1st, 1991. Turkey was the first country to recognize the Republic of Uzbekistan on December 16th, 1991. On March 4th, 1992, diplomatic relations between Turkey and Uzbekistan were established and more than 90 bilateral agreements and protocols were signed. Among the Central Asian countries, Uzbekistan has an important geopolitical location and has the largest Turkish population. Turkish and Uzbek people share the same culture and language (Uzbek-Chagatai Turkish). Pr
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Golubchikov, YUriy. "Methodological potential of the teleological principle of purpose." In International Conference "Computing for Physics and Technology - CPT2020". Bryansk State Technical University, 2020. http://dx.doi.org/10.30987/conferencearticle_5fce27705d8750.02429694.

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The cognitive capabilities of the teleological paradigm of purpose are discussed. An inquiring mind everywhere sees that inanimate matter serves for living, and that, in turn, serves for a man. However, such a concept as “purpose” turned out from the contemporary science, although for a long time it went along the path of becoming the doctrine of purpose determination, or nomogenesis. The history of the substitution of the main paradigm of science from purpose to chance is traced. The overcoming of the catastrophic representations of Cuvier by the provisions of actualism and evolutionism is co
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Rasulev, Alisher. "Central Asia: New Opportunities and New Risks for the Sustainable Development of National Economies." In International Conference on Eurasian Economies. Eurasian Economists Association, 2018. http://dx.doi.org/10.36880/c10.02211.

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In the 21st century, many global challenges such as the instability of economic development, social inequality of the population, climate change have escalated and posed a significant threat to the achievement of sustainable development goals. As is known, until recently, in many countries of the world, the model of accelerated build-up of productive forces was dominated by the extensive use of natural resources, which causes great damage to the environment. Thus, the implemented model of increasing production essentially provided "growth without development." Such a development model is typic
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Kuzu, Serdar. "The Position of Central Asian Republics in the World Energy Market." In International Conference on Eurasian Economies. Eurasian Economists Association, 2012. http://dx.doi.org/10.36880/c03.00480.

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Central Asian Republics contain a grand potential in itself through their rich natural resources and strategic locations on the Silk Road between east and west. However, international production and trade share of Turkic Republics is very low. Natural resources are among the most important elements for economic structure. Natural resources that hold by Turkic Republics have had an increasing importance in the world energy market since the disintegration of the Soviet Union. Many international firms have focused on this district in order to have a say in the production and distribution of energ
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Nişancı, Murat, Ziya Çağlar Yurttançıkmaz, Adem Türkmen, and Ömer Selçuk Emsen. "Convergence to Maastricht Criteria Being Economic Performance Criteria: Applications on Transition Countries." In International Conference on Eurasian Economies. Eurasian Economists Association, 2014. http://dx.doi.org/10.36880/c05.00921.

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Together with the destruction of Berlin Wall in 1989 and fall of The Soviets 1991, one of the basic problems of transition economies is the matter of high inflation. The underlying factor of the high and/or hyperinflation process is the rupture of input relations and its negative supply shocks. Emergence of inflationary structure brought irregularity in macroeconomic indicators, too. Many structural adjustments were created in order to lighten the effects of transition process; and improvements were tried to be done in economic indicators such as inflation interest, budget balance and foreign
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Field, David P., and Jim Stephens. "Japanese-Russian Arms Reduction Co-Operation Barge Mounted Low Level Liquid Waste Treatment Plant — Suzuran/Landysh." In ASME 2003 9th International Conference on Radioactive Waste Management and Environmental Remediation. ASMEDC, 2003. http://dx.doi.org/10.1115/icem2003-4867.

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Basic Technical Details: Displacement: 5000 tonnes; Width: 23.2m; Height: 6.6m; Length: 65m; Draught: 3.5m; Processing Throughput: 7000m3/year. In October 1993, the Governments of Japan and the Russian Federation signed an Intergovernmental Agreement to reduce the threat of nuclear weapons in the Former Soviet Union. Towards achieving this goal, the Japanese Government had initially allotted $100 million towards, which was increased to $200 million in 1999. The main objective of the Suzuran project is to process low-level liquid radioactive waste, which has been in storage for some years, and
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Funk, Greg, and Paul Longsworth. "Opportunity, Risk, and Success: Recognizing, Addressing, and Balancing Multiple Factors Crucial to the Success of a Project Management System Deployed to Support Multi-Lateral Decommissioning Programs." In The 11th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2007. http://dx.doi.org/10.1115/icem2007-7342.

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This paper addresses the factors involved in effectively implementing a world-class program/project management information system funded by multiple nations. Along with many other benefits, investing in and utilizing such systems improves delivery and drive accountability for major expenditures. However, there are an equally large number of impediments to developing and using such systems. To be successful, the process requires a dynamic combining of elements and strategic sequencing of initiatives. While program/project-management systems involve information technologies, software and hardwar
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