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Journal articles on the topic 'Soviet comedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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9

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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Dimock, Wai Chee. "Literature for the Planet." Publications of the Modern Language Association of America 116, no. 1 (2001): 173–88. http://dx.doi.org/10.1632/s0030812900105115.

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What happens when a text is read in different centuries, different countries? The fate of the Divine Comedy in the Soviet Union suggests one answer. Focusing on Osip Mandelstam's intense attachment to Dante and thinking generally about the consequences of a globalizing readership, this essay argues for literature as a peculiar form of “life,” a planetary life. Not biological like an organism and not territorial like a nation, this form of life extends across linguistic borders and across the borders of chronology. This form of life comprises a population of temporal hybrids: “translations” tha

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Dimock, Wai Chee. "Literature for the Planet." PMLA/Publications of the Modern Language Association of America 116, no. 1 (2001): 173–88. http://dx.doi.org/10.1632/pmla.2001.116.1.173.

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What happens when a text is read in different centuries, different countries? The fate of the Divine Comedy in the Soviet Union suggests one answer. Focusing on Osip Mandelstam's intense attachment to Dante and thinking generally about the consequences of a globalizing readership, this essay argues for literature as a peculiar form of “life,” a planetary life. Not biological like an organism and not territorial like a nation, this form of life extends across linguistic borders and across the borders of chronology. This form of life comprises a population of temporal hybrids: “translations” tha

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Sidorenko, Nadezhda R. "THE THEATER OF MUSICAL COMEDY IN ROSTOV-ON-DON: ARCHITECTURAL DESIGNS AND THEIR IMPLEMENTATION." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 11. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-11.

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The Theater of Musical Comedy in Rostov-on-Don is a unique structure that clearly reflects the features of Soviet modernism. This landmark building is known for its long history of design and implementation (1969-1999). Its construction lasted almost 25 years. This, of course, affected the architectural and artistic appearance of the building. The various design proposals and the actual project have significant differences in stylistic techniques: the bold forms of brutalism appearing in the initial developments remained on paper and the building that embellished the central street of the city

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Lindenberger, Thomas. "On the Road to the New Beginning: History and Utopia in Frank Beyer’s Karbid und Sauerampfer (Carbide and Sorrel)." Cinémas 18, no. 1 (2008): 91–107. http://dx.doi.org/10.7202/017848ar.

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Abstract Today, the film Carbide and Sorrel, by the eminent and recently deceased DEFA director Frank Beyer, is a valuable retrospective look at the construction of the new Germany. Through the story of a worker tossed by his workmates onto the country’s roads in search of carbide in the summer of 1945, this 1963 comedy, made two years after the construction of the Berlin Wall, is a portrait of German society in the grip of the future protagonists of the Cold War. The protagonist’s comic peregrinations between the American and Soviet occupiers are an oblique depiction, reinforced by popular so

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Schatz, Edward. "Transnational Image Making and Soft Authoritarian Kazakhstan." Slavic Review 67, no. 1 (2008): 50–62. http://dx.doi.org/10.2307/27652766.

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A primary mechanism of rule in soft authoritarian post-Soviet Kazakhstan was the regime's ability to monopolize the instruments of persuasion. By carefully crafting and propagating images of state and society, constructing political dramas, and developing plausible public narratives about the provision of public goods, Nursultan Nazarbaev continually outflanked his political opponents. And then cameBorat,the Hollywood comedy that presented Kazakhstan as a racist, homophobic, misogynistic, economic, and political backwater. Not only were the images of this “Kazakhstan“ out of the regime's contr

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Shelest, Vera Vladimirovna. "Travesty of the cult image of Lenin in post-Soviet cinematography on the materials of the films “Comedy of the Strict Regime” and “Village of Khlyupovo Separates from the Union”." Культура и искусство, no. 1 (January 2020): 27–42. http://dx.doi.org/10.7256/2454-0625.2020.1.30366.

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This article is written within the framework of the topic &ldquo;The Image of Lenin in Art Cinematography of Russia of the XX &ndash; XXI centuries&rdquo;. The author explores the period at the turn of eras, from collapse of the Soviet Union in 1991 until the appearance of a new state of the Russian Federation on the world map. In the focus of attention are two films made in 1992, which subject to travesty the cult image of Lenin created by the founders of artistic Leniniana on stage and screen. Since the films were made at the turn of historical eras, there are attributes of a new

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17

Adelfinsky, Andrey. "Creating a Hero . . . Laughing at Clowns? Representations of Sports and Fitness in Soviet Fiction Films after the Olympic U-Turn in Politics." Sotsiologicheskoe Obozrenie / Russian Sociological Review 19, no. 4 (2020): 108–36. http://dx.doi.org/10.17323/1728-192x-2020-4-108-136.

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In the 1940s–1960s, the USSR made an ideological turn from leftist sports politics to the struggle for Olympic achievements. How has this U-turn affected the social order in Soviet sport and its artistic repre-sentation? The article offers a systematic review of Soviet sport fiction films. The study of sport and fit-ness imagination is conducted through a correlation between artistic performance and social context. Fo-cusing on the 1950s–1980s, we found three different types of representation: № 1 is the creating of a hero (for an elite athlete). This is the lion’s share of all sport movies wh

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Gāle-Kārpentere, Inta. "Latviešu mūzikas grupa "Čikāgas piecīši" kultūru krustcelēs." Letonica, no. 35 (2017): 7–28. http://dx.doi.org/10.35539/ltnc.2017.0035.i.g.k.7.28.

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The article discusses the continued relevance of the Čikāgas Piecīši (The Chicago Five), an American-Latvian musical-comedy troupe that toured Latvian exile communities and performed in Soviet and post-Soviet Latvia over the span of some fifty years. It asks the question: Given the diverse and contentious nature of their global audiences, how did the Čikāgas Piecīši sustain their appeal and their authority as spokespersons for Latvians worldwide? Five sources fundamental to their success are identified and analysed. In their concerts, the Čikāgas Piecīši offered a lively new form of social co

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Borg, Darren J. "Subjectivity as Espionage: The Dark Legacy of Modernism in John Banville's The Untouchable." Irish University Review 45, no. 2 (2015): 320–34. http://dx.doi.org/10.3366/iur.2015.0179.

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John Banville's The Untouchable functions as a critique of subjectivity after modernism, specifically theories of the decentred subject. The narrator of the book, Victor Maskell, is a fictionalized version of English art historian and Soviet spy Anthony Blunt, and through this fictional memoir, Banville offers a portrait of the self with a terrible absence at its centre, implicating modernism's suspicion that the subject, or cogito, is a discursive fiction as the source of Maskell's treason and nihilism. At the heart of Maskell's identity is the death drive, the ‘blind automatism of repetition

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Raudsepp, Anu. "Vaimse vastupanu püüded okupatsioonivõimudele Hugo Raudsepa 1940. aastate komöödiates." Ajalooline Ajakiri. The Estonian Historical Journal 172, no. 2 (2020): 117–40. http://dx.doi.org/10.12697/aa.2020.2.02.

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In the 1940s, the totalitarian occupying regimes of Nazi Germany and the Soviet Union implemented the strictest control and ideological guidance of intellectual and spiritual life of all time in Estonia. Essentially, the mechanisms and results of control are known. Cultural life was subjected to strict pre-censorship and post-publication censorship, and in the Soviet era also to thematic dictation. The intellectual and spiritual resistance of Estonians in those years, in other words their refusal to accept the ruling ideology, has been studied very little. The most widespread way of putt

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Olechowska, Elżbieta. "Ancient Plays on Stage in Communist Poland." Keria: Studia Latina et Graeca 20, no. 3 (2018): 41–74. http://dx.doi.org/10.4312/keria.20.3.41-74.

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A recently published analytical register of all ancient plays and plays inspired by antiquity staged in Poland during communism, provided factual material for this study of ancient drama in Polish theatre controlled by the state and of its evolution from the end of WW2 to the collapse of the Soviet regime. The quasi-total devastation of theatrical infrastructure and loss of talent caused by the war, combined with an immediate seizing of control over culture by Communist authorities, played a crucial role in the shaping of the reborn stage and its repertoire. All Aeschylus’ plays were performed

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Seinen, Nathan. "Prokofiev's Semyon Kotko and the melodrama of High Stalinism." Cambridge Opera Journal 21, no. 3 (2009): 203–36. http://dx.doi.org/10.1017/s0954586710000212.

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AbstractThis article examines the first opera of Prokofiev's Soviet period, Semyon Kotko (1939), in light of the disparity between two forms of melodrama, one affecting the opera's composition, the other its reception. The first is the classic melodrama, which offered the composer the foundation for a vivid, intense work that would also be suitable for a mass audience; the second is the melodrama reflecting the aesthetic norms and moral framework of socialist realism and High Stalinism. The simplicity and immediacy of Kotko avoided the directed emotionalism of the officially favoured model of

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Vizgin, Vladimir P. "“Comedy of mistakes” and “drama of humans”: on the domestic contribution to the creation of The Standard Model of elemantary particle in physics." Science management: theory and practice 2, no. 3 (2020): 196–224. http://dx.doi.org/10.19181/smtp.2020.2.3.11.

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The article explores domestic contribution to the creation of The Standard Model (SM). SM is a quantum field gauge theory of electromagnetic, weak and strong interactions, which is the basis of the modern theory of elementary particles. The process of its development covers a twenty-year period – from 1954 (the concept of non-Abelian Yang-Mills gauge fields) to the early 1970s, when the construction of renormalizable quantum chromodynamics and electroweak theory was completed. The reasons for the difficult perception of the Yang-Mills gauge field concept in the USSR are analyzed, associated pr

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Golovchiner, V. E., and T. L. Vesnina. "Origins and functions of comic in feuilleton as literature phenomenon." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 107–17. http://dx.doi.org/10.17223/18137083/72/8.

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The genesis of a feuilleton phenomenon in the periodic press, always attracting the readers’ attention, has not been thoroughly researched. The work aims to identify the feuilleton origins and clarify the nature of its expressive means and comic functions. The research materials include the records of the feuilleton discussions in the Soviet press (1922–1926), a collection of works “Feuilleton” (1927), later works on the feuilleton and historical poetics. The following factors are considered to have contributed to the rise of the feuilleton: increased potential of the printing press at the tur

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Sover, Arie. "Humour and enjoyment reducers in cinema and theatre comedy." European Journal of Humour Research 2, no. 3 (2014): 86–97. http://dx.doi.org/10.7592/ejhr2014.2.3.sover.

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Kirillova, Natalia B. "Screen Metamorphoses of Ivan Pyryev." Journal of Flm Arts and Film Studies 10, no. 2 (2018): 38–48. http://dx.doi.org/10.17816/vgik10238-48.

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Ivan Aleksandrovich Pyryev passed away fifty years ago. However, for all these years he did not become a purely historical figure, his films have not gone into nothingness, disputes about his personality and creation have not ceased. The director, screenwriter, organizer of film production, he left a rich creative heritage. Having not received a special education and actually a dilettante in art, Pyryev, nevertheless, for half a century of work in the cinema has reached the highest professionalism, having traveled from the actor and the assistant to the screenwriter, helmer, director of Mosfil

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Maliutina, Natalia. "Смерть в симулятивном пространстве гиперреальности современной русской драмы на примере пьес Олега Богаева". Slavica Wratislaviensia 167 (21 грудня 2018): 427–39. http://dx.doi.org/10.19195/0137-1150.167.36.

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Death in the simulative space of the hyperrealityof modern Russian dramaon the example of Oleg Bogayev’s playsThe image of the death’s simulacrum is a product of character’s speech in many comedy plays by the Russian playwright from Ekaterinburg — Oleg Bogayev, among them: Russian folk post, Dead Ears. The newest history of a toilet paper and others. In the poetics of O. Bogaev’s texts, the space of hyperreality is formed and the images of life and death function as simulacra and reminiscence of the mental stereotypes of the post-Soviet era. Analysis of the use of simulacra of death in a numbe

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Minchik, Sergey S. "ALEXANDER GRIBOYEDOV IN WORKS BY ARSENIY MARKEVICH." Вестник Пермского университета. Российская и зарубежная филология 12, no. 3 (2020): 86–94. http://dx.doi.org/10.17072/2073-6681-2020-3-86-94.

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Alexander Griboyedov is a classic of Russian literature. His comedy Woe from Wit (1824) was a manifesto of freethinkers, and many of his friends took part in the Decembrist revolt (1825). In the USSR, Griboyedov was studied with a special interest – Soviet authors described him as a man who struggled for reformation of Russia like a Bolshevik. At the same time, comments concerning his biography and works were accompanied by ignoring and distortion of numerous facts which proved he was not a revolutionary. Nowadays, Griboyedov studies still depend on the hypotheses of the USSR times. That is wh

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Токоева, Жумабубу. "ЖАНРОВОЕ СВОЕОБРАЗИЕ СОВРЕМЕННОГО КЫРГЫЗСКОГО КИНО". Vestnik Bishkek Humanities University, № 51 (19 березня 2020): 20–24. http://dx.doi.org/10.35254/bhu.2020.51.15.

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Аннотация: Предметом исследования статьи является рассмотрение жанрового разнообразия современного кыргызского кино. Основное внимание автор акцентирует на культурологическом анализе всех «авторских» фильмов кыргызских режиссеров в постсоветский и современный периоды. Главной целью исследования является выявление жанрового своеобразия современного отечественного кино. Новизна статьи заключается в том, что автор впервые в отечественной кинотеории рассматривает особенности и своеобразие киножанров в современном кыргызском кино на примере таких известных всему миру фильмов, как кинотрилогия А. Аб

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Палушова, Мартина. "NIKOLAI ERDMAN: CZECH TRANSLATIONS AND STAGE INTERPRETATIONS." Tomsk state pedagogical university bulletin, no. 3(215) (May 24, 2021): 155–63. http://dx.doi.org/10.23951/1609-624x-2021-3-155-163.

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Введение. Представлено восприятие Николая Эрдмана и его драматургических произведений в бывшей Чехословакии и современной Чешской Республике. Исследование сосредоточивается в первую очередь на интерпретации пьес драматурга в чешских переводах и на чешских сценах. Материал и методы. Материалом исследования послужили архивные материалы, программы спектаклей, записи постановок, критические отзывы в периодике, дневники и воспоминания переводчиков, а также публикации о движении малых театров-студий, изданные до 1989 г. Материалы проанализированы с точки зрения переводоведения, театроведения и воспр

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Yurchak, Alexei. "A Parasite from Outer Space: How Sergei Kurekhin Proved That Lenin Was a Mushroom." Slavic Review 70, no. 2 (2011): 307–33. http://dx.doi.org/10.5612/slavicreview.70.2.0307.

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In 1991, Leningrad television broadcast a program that has since become infamous. The program's guest, Sergei Kurekhin, claiming to be a political figure and scientist, conducted an elaborate hoax that he presented as a serious historical exploration into the origins of the Bolshevik revolution. Using visual, textual, and scientific evidence, Kurekhin argued that the revolution was led by people who had been consuming hallucinogenic mushrooms. As a result, their personalities were being replaced by mushroom personalities, and their leader, Vladimir Lenin, was simply a mushroom. This fact, acco

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Lapidus, Rina. "The “Erotic” Tractor in the Soviet Cinema." Quaestio Rossica 8, no. 2 (2020). http://dx.doi.org/10.15826/qr.2020.2.478.

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Between the 1930s and the 1960s, much emphasis was put in the Soviet Union on the technological development of the country. One of the latest wonders of technology was the tractor, which harvested crops efficiently and rapidly. This article is concerned with the Soviet cinematic representation of work with tractors as the most erotic characteristic of a man. A man attractive to women in Soviet cinema is not handsome but rather is someone proficient in operating a tractor. On the other hand, a man who does not know how to operate a tractor is represented as impotent and is ridiculed by female c

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Stoliar, Maryna. "POST-TOTALITARIAN PRACTICES OF SOVIET AND POLISH COMEDY FILMS OF 1960 –1980s." National Academy of Managerial Staff of Culture and Arts Herald, no. 4 (November 27, 2018). http://dx.doi.org/10.32461/2226-3209.4.2018.152996.

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Pressitch, Olga. "Civil War as Musical Comedy: The Representation of the Ukrainian Revolution in the Soviet Film Wedding in Malinovka (1967)." Australian and New Zealand Journal of European Studies 5, no. 2 (2021). http://dx.doi.org/10.30722/anzjes.vol5.iss2.15142.

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This article explains the continued popularity in Russia of the 1967 Soviet film Wedding in Malinovka by analyzing its reliance on the traditional Russian cultural stereotype of Ukraine embedded in the burlesque style of kotliarevshchyna. The threat that the Ukrainian Revolution historically represented to Soviet Russian identity is normalised in the film, as well as in the 1936 eponymous operetta on which it is based, by framing it as an ethnic musical sitcom with dances. Although the two main yokels of the musical hail from a long line of Ukrainian and Jewish characters of popular theatre, b

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Kolesnikova, S. A. "Александр Грибоедов: вечный диспут о человеческом достоинстве". Nasledie Vekov, № 1(21) (1 квітня 2020). http://dx.doi.org/10.36343/sb.2020.21.1.014.

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Статья посвящена формам и способам осмысления идей А.С.Грибоедова, заложенных в его пьесе Горе от ума , на разных этапах истории российской культуры. Автором использован метод ретроспекции, материалами послужили публикации в региональной советской печати второй половины XX в., а также авторские описания библиотечной выставки и ее экспонатов. Отправной пункт исследования выставка редких изданий из фонда Краснодарской краевой универсальной научной библиотеки имени А.С.Пушкина, организованная к 225-летию Грибоедова. Затем автор обращается к театральным интерпретациям великой комедии в первой поло

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Denisova, Anastasia. "How Vladimir Putin’s Divorce Story Was Constructed and Received, or When the President Divorced His Wife and Married the Country Instead." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.813.

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A politician’s political and personal selves have been in the spotlight of academic scholarship for hundreds of years, but only in recent years has a political ‘persona’ obtained new modes of mediation via networked media. New advancements in politics, technology, and media brought challenges to the traditional politics and personal self-representation of major leaders. Vladimir Putin’s divorce announcement in June 2013, posed a new challenge for his political self-mediation. A rather reserved leader (Loshak), he nonetheless broadcast his personal news to the large audience and made it in a ve

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Landay, Lori. "Digital Transformations." M/C Journal 4, no. 2 (2001). http://dx.doi.org/10.5204/mcj.1899.

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In the age of digital transformations of images, communications, and storytelling, Marshall McLuhan's insight that "the medium is the message" can be augmented with the corollary that the media is the mix. Digital forms of narrative are not only characterized by their mixed, hybrid forms and content, but their recombinations 1 draw the spectator into the mix in unforeseen ways. By mixing varying degrees of non-linearity and interactivity in what are ultimately animations, digital narratives create new kinds of digital spectatorship. The examples I'll explore here are three films, Conceiving Ad

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