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010   $a9786612861352
010   $a0-7735-7131-0
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100   $a20030213d2003      uy         0
101 0 $aeng
135   $aurcn|||||||||
181   $ctxt
182   $cc
183   $acr
200 14$aThe sad comedy of Eldar Riazanov $ean introduction to Russia's most popular filmaker /$fDavid MacFadyen
205   $a1st ed.
210   $aMontreal $cMcGill-Queen's University Press$dc2003
215   $a1 online resource (290 p.)
300   $aIncludes filmography: p. [271]-279.
311   $a0-7735-2636-6 
311   $a0-7735-2589-0 
320   $aIncludes bibliographical references and index.
327   $tFront Matter -- $tContents -- $tPrologue -- $tTragicomedy -- $tPsychoanalysis in the Soviet Union -- $tIdeology -- $tIdeology versus Diffidence, Not Dissidence -- $tIdeology Faces the Horrors of Its Opposite -- $tSadness -- $tThe Difficult Birth of Tragicomedy -- $tCan Materialism Be Challenged by Melancholy? -- $tFear -- $t?A Wave of Fear Ran through My Body ?? -- $tThe Dignity of Risk -- $tHope and Desire -- $tInsignificance as Salvation -- $tLove -- $t?I Love You!? ?What a Ridiculous Decision!? -- $tLove and the Adventures of Lunacy -- $tConclusion: Western Notions and Witty Words -- $tNotes -- $tFilmography -- $tIndex
330   $aDavid MacFadyen investigates what made Riazanov's films so wildly popular and 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 twenty love stories that have precious little to do with statecraft, Soviet or otherwise, Riazanov captures the willful inclusiveness of socialist culture.
606   $aComedy films$zRussia (Federation)$xHistory and criticism
615  0$aComedy films$xHistory and criticism.
676   $a791.43/023/092
700   $aMacFadyen$b David$f1964-$01594436
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910815767503321
996   $aThe sad comedy of El?dar Riazanov$94037498
997   $aUNINA