By David MacFadyen
Investigates what made El'dar Riazanov's movies so renowned and what dating that acceptance needed to Soviet coverage. This e-book appears to be like at how Riazanov's movies relate to society, viewers call for, and Soviet politics. in additional than twenty love tales that experience little to do with statecraft, Riazanov captures the inclusiveness of socialist tradition.
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Extra resources for The Sad Comedy of Èl’dar Riazanov: An Introduction to Russia’s Most Popular Filmmaker
Example text
Kristeva has herself referred to the Soviet Union in the eighties as catastroika, presumably as a double pun upon catastrophe and castration, the double social loss that could be private gain if managed properly …68 In dealing with the birth of desire (and, thereafter, self), there will be many things I will not desire. Here lies the big difference between this study and those I have completed on Soviet songs. Whereas estrada is an art form philosophically bound to affirm, remember, and thus perpetuate the maximum number (if not all) of its own prior manifestations, these comedy films – as we will see in a few pages – are a much less public enterprise.
I should, though, offer a sneak preview of this problem’s resolution by saying we can escape dolour and enter a process of risky affirmation, but only if we take the rare step of building upon Lacan and looking at the role of psychoanalysis inside Russia. Here lies the answer to how sadness and affirmative decentred selfhood are related in a positive way. The matter is not that sadness comes necessarily from failure at the hands of ideology, but that the melancholy of “psychological” metonymy coincides totally with the emotional or sentimental manner in which all doctrinal issues were suddenly perceived by Russians at the time of ideology’s fall(s) from grace during perestroika and early postmodernism.
The Other of sadness is often not the Russian or Soviet state. The issues of language and selfhood we categorize as “freedom of [political] speech” are, when thus termed, a gross simplification of a much bigger, older picture of developmental processes. In order to prove this so, we need first the brief history of psychoanalysis in Russia offered below. Here we will see the frequent or affective overlap of Freud, Marx, and (eventually) postmodernism that has allowed dolour to bridge them and manifest itself as a key stage of ahistorical selfhood.