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Frontmatter
Foreword: If life itself is a satire . . .
Acknowledgments
Editor's note
Introduction: Carnival versus lashing laughter in Soviet cinema
Part One The long view: Soviet satire in context
I Soviet film satire yesterday and today
II A Russian Munchausen: Aesopian translation
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)
IV An ambivalent NEP satire of bourgeois aspirations: The Kiss of Mary Pickford
V Closely watched drains: Notes by a dilettante on the Soviet absurdist film
Part Two Middle-distance shots: The individual satire considered
VI A subtextual reading of Kuleshov's satire the Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924)
VII The strange case of the making of Volga, Volga
VIII Circus of 1936: Ideology and entertainment under the big top
IX Black humor in Soviet cinema
X Laughter beyond the mirror: Humor and satire in the cinema of Andrei Tarkovsky
XI The films of Eldar Shengelaya: From subtle humor to biting satire
Part Three Close-ups: Glasnost and Soviet satire
XII A forgotten flute and remembered popular tradition
XIII Perestroika of kitsch: Sergei Soloviev's Black Rose, Red Rose
XIV Carnivals bright, dark, and grotesque in the glasnost satires of Mamin, Mustafayev, and Shakhnazarov
XV Quick takes on Yuri Mamin's Fountain from the perspective of a Romanian
XVI "One should begin with zero": A discussion with satiric filmmaker Yuri Mamin
Filmography
Contributors
Index
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