Russia's funniest and most popular films are the work of El'dar Riazanov, a director whose light, lyrical tales of love lost and found have garnered audiences of over one hundred million. Although Western scholars have largely ignored Riazanov's oeuvre in favour of more serious filmmakers, no director in Russia has been so loved by both the public (openly) and politicians (covertly). His early comedies mapped the relations between society and socialism, allowing him to create a radically apolitical art of kindness and kindred spirits. what - if any - relationship that popularity had to Soviet policy. Using the works of Deleuze, Lacan, and Kristeva, MacFadyen looks at how Riazanov's films relate to society, audience demand, and Soviet politics. In more than 20 love stories that have precious little to do with statecraft, Soviet or otherwise, Riazanov captures the willful inclusiveness of socialist culture.
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David MacFadyen is a professor of Slavic languages and literatures at UCLA. He has written extensively on Soviet popular culture and is the author of The Sad Comedy of Èl'dar Riazanov and several books on Joseph Brodsky.
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Soft Cover. Etat : Very Good. 2026 mayFiled director bios. N° de réf. du vendeur 00203770
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Vendeur : HPB-Emerald, Dallas, TX, Etats-Unis
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Vendeur : Edmonton Book Store, Edmonton, AB, Canada
Etat : Very Good. Etat de la jaquette : No Dj. 8vo pp. 283, "This is a thorough, pioneering introduction to ldar Riazanov. MacFadyen challenges the Cold War oppositions of state vs entertainment, dogma vs dissidence, and public vs private that have dominated Western academic discussion of Soviet and post-Soviet art and media, elucidating their much more complex emotional and psychological structure in the light of post-Freudian? book. N° de réf. du vendeur 171283
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