Contents

pp v-vi

Foreword: If life itself is a satire …

pp vii-viii

Acknowledgments

pp ix-x

Editor's note

pp xi-xii

Introduction: Carnival versus lashing laughter in Soviet cinema

pp 1-14

Part One - The long view: Soviet satire in context

pp 15-16

I - Soviet film satire yesterday and today

pp 17-19

II - A Russian Munchausen: Aesopian translation

pp 20-35

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)

pp 36-47

IV - An ambivalent NEP satire of bourgeois aspirations: The Kiss of Mary Pickford

pp 48-57

V - Closely watched drains: Notes by a dilettante on the Soviet absurdist film

pp 58-62

Part Two - Middle-distance shots: The individual satire considered

pp 63-64

VI - A subtextual reading of Kuleshov's satire The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924)

pp 65-74

VII - The strange case of the making of Volga, Volga

pp 75-82

VIII - Circus of 1936: Ideology and entertainment under the big top

pp 83-93

IX - Black humor in Soviet cinema

pp 94-97

X - Laughter beyond the mirror: Humor and satire in the cinema of Andrei Tarkovsky

pp 98-104

XI - The films of Eldar Shengelaya: From subtle humor to biting satire

pp 105-114

Part Three - Close-ups: Glasnost and Soviet satire

pp 115-116

XII - A forgotten flute and remembered popular tradition

pp 117-124

XIII - Perestroika of kitsch: Sergei Soloviev's Black Rose, Red Rose

pp 125-137

XIV - Carnivals bright, dark, and grotesque in the glasnost satires of Mamin, Mustafayev, and Shakhnazarov

pp 138-148

XV - Quick takes on Yuri Mamin's Fountain from the perspective of a Romanian

pp 149-153

XVI - “One should begin with zero”: A discussion with satiric filmmaker Yuri Mamin

pp 154-156

Filmography

pp 157-164

Contributors

pp 165-166

Index

pp 167-171