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SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University

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SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production. During this time of ideological tension, these directors used specific cinematic Aesopian language to create covert political commentary by drawing parallels between, on the one hand, power relations between the young characters and their families and unproductive educators; and, on the other hand, the power relations between Soviet citizens and a largely ineffective government. To avoid censorship, the practitioners of Aesopian language relied on those genres that allowed for more productive use of narrative and cinematic devices. Regularly employing such Aesopian devices as allegories, allusions, citations, ellipses, parody, and other devices, Soviet filmmakers were able covertly to address various problematic topics and raise questions that were relevant and important for the late-Soviet culture under Brezhnev. My dissertation examines the specific ways in which filmmakers during Brezhnev’s government used the images of teenagers and young people to allude to overall changes in behavior and attitudes toward ideology and authority among different generations of Soviet people. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................ X 1.0 INTRODUCTION ........................................................................................................ 1 2.0 AESOPIAN LANGUAGE IN CULTURE AND CINEMA .................................... 20 2.1 AESOPIAN LANGUAGE IN RUSSIAN AND SOVIET CULTURE .......... 20 2.2 AESOPIAN DEVICES IN BREZHNEV CINEMA ....................................... 32 3.0 GENRE MEETS CENSORSHIP, CENSORSHIP MEETS GENRE ................... 56 3.1 CENSORSHIP IN SOVIET CULTURE ......................................................... 56 3.2 THE DEVELOPMENT OF SOVIET YOUTH FILM ................................... 70 4.0 ADULT PROBLEMS OF SOVIET TEENAGERS .............................................. 105 4.1 IL'IA FREZ: FIRST LOVE AND GENERATIONAL DISCORD ............ 105 4.2 PAVEL LIUBIMOV: SEXUAL RESISTANCE........................................... 129 5.0 EMPOWERED TEENAGERS ............................................................................... 151 5.1 IL'IA AVERBAKH: BEING VNYE ............................................................... 151 5.2 PAVEL ARSENOV: IRONIC TEENAGERS AND POWERLESS ADULTS …………………………………………………………………………………………….171 6.0 CREATING PERSONAL SPACE ......................................................................... 190 6.1 DINARA ASANOVA: TEENAGE MISFITS ............................................... 190 6.2 VLADIMIR MEN'SHOV: MUSICAL RESISTANCE ................................ 219 v 7.0 ESCAPING THE SYSTEM .................................................................................... 244 7.1 ERNEST IASAN: SUICIDE AND TEENAGE TRICKSTERS .................. 244 7.2 SERGEI SOLOV'EV: TEENAGE MATURATION AND NON-SOVIET LITERATURE AND ART ............................................................................................... 270 8.0 CONCLUSION ......................................................................................................... 297 BIBLIOGRAPHY ..................................................................................................................... 310 FILMOGRAPHY ...................................................................................................................... 325 vi LIST OF FIGURES Figure 1: A Rail Station for Two ................................................................................................... 37 Figure 2: A Rail Station for Two ................................................................................................... 37 Figure 3: Autumn Marathon......................................................................................................... 39 Figure 4: Autumn Marathon.......................................................................................................... 39 Figure 5: Autumn Marathon.......................................................................................................... 39 Figure 6: An Ordinary Miracle ..................................................................................................... 48 Figure 7: Autumn Marathon.......................................................................................................... 49 Figure 8: The Tears Were Dropping ............................................................................................. 53 Figure 9: The Tears Were Dropping ............................................................................................. 53 Figure 10: Komsomol'sk ............................................................................................................... 83 Figure 11: Komsomol'sk ............................................................................................................... 83 Figure 12: My Younger Brother .................................................................................................... 91 Figure 13: My Younger Brother .................................................................................................... 91 Figure 14: Tale of First Love ........................................................................................................ 98 Figure 15: What If This is Love? ................................................................................................. 99 Figure 16: Not Even In Your Dreams ........................................................................................ 109 Figure 17: Not Even In Your Dreams ........................................................................................ 109 Figure 18: Not Even In Your Dreams ....................................................................................... 110 vii Figure 19: Not Even In Your Dreams ........................................................................................ 121 Figure 20: Not Even In Your Dreams ........................................................................................ 122 Figure 21: Not Even In Your Dreams ....................................................................................... 127 Figure 22: School Waltz .............................................................................................................. 140 Figure 23: School Waltz .............................................................................................................. 140 Figure 24: School Waltz ............................................................................................................. 143 Figure 25: School Waltz ............................................................................................................. 146 Figure 26: School Waltz ............................................................................................................. 148 Figure 27: Other People's Letters ............................................................................................... 158 Figure 28: Other People's Letters ............................................................................................... 165 Figure 29: Other People's Letters ............................................................................................... 167 Figure 30: Confused Emotions .................................................................................................... 175 Figure 31: Confused Emotions .................................................................................................... 185 Figure 32: Woodpeckers ............................................................................................................
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