"Singing a Different Tune" : : The Slavic Film Musical in a Transnational Context / / Helena Goscilo.

• Superior document: Title is part of eBook package: De Gruyter DG Plus PP Package 2023 Part 2
• VerfasserIn: Goscilo, Helena,
• MitwirkendeR: Goscilo, Helena,; Holmgren, Beth,; Kaganovsky, Lilya,; Ostrowska, Elżbieta,; Prokhorov, Alexander,; Prokhorov, Elena,; Salys, Rimgaila,; Wilmes, Justin,
• Place / Publishing House: Boston, MA : : Academic Studies Press, , [2023]; ©2023
• Year of Publication: 2023
• Language: English
• Series: Film and Media Studies
• Physical Description: 1 online resource (330 p.)
• Other title: Frontmatter --; Contents --; Acknowledgements --; Introduction --; Part One: Polish Film Musicals --; 1. Early Polish-Language Musicals: The Tug of War between Genre Film and Cabaret --; 2. Between the Market and the Mirror: Stanisław Bareja’s Marriage of Convenience --; 3. Paweł Pawlikowski’s Cold War: Music, Space, and Identity --; 4. The Allure of Agnieszka Smoczyńska’s Lure (2015) as an Intrepid Feminist Hybrid --; Part Two: Russian Film Musicals --; 5. Perplexing Popularity: Ivan Pyr′ev’s Kolkhoz Musical Comedy Films --; 6. The Thaw as Carnival: Soviet Musical Comedy after Stalin --; 7. Constructing the Pop Diva: Alla Pugacheva, Sofia Rotaru, and the Celebrity Musical of the 1970s–1980s --; 8. Postmodernity, Freedom, and Authenticity in Kirill Serebrennikov’s Leto (2018) --; Filmography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9798887191287; 9783111178042
• DOI: 10.1515/9798887191287
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Helena Goscilo.

A beneficiary of the pioneering incorporation of sound and synchronicity into cinema, the Hollywood musical became the most popular film genre in America’s thirties and forties. Its eastward migration resulted in a barrage of Polish screen musicals that relied on the country’s famous cabaret stars, while in the Soviet Union it inspired the audience-pleasing kolkhoz musicals of Ivan Pyr’ev and their urban counterpart, directed by Grigorii Aleksandrov. Like Stalin, Slavic moviegoers delectated tuneful melodies, mobile bodies in choreographed dance numbers, colorful costumes, and the notion that “all’s well that ends well.” Yet Slavic versions of the musical elaborated scenarios that differed from the Hollywood model. This volume examines the vagaries of this genre in both countries, from its early instantiations to its contemporary variations almost a century after its dramatic birth.