Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil
Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid a...
Ausführliche Beschreibung
Gespeichert in:
| Autor*in: |
Maria Vorobyeva [verfasserIn] |
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| Format: |
E-Artikel |
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| Sprache: |
Englisch |
| Erschienen: |
2021 |
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| Schlagwörter: |
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| Übergeordnetes Werk: |
In: The European Journal of Humour Research - Cracow Tertium Society for the Promotion of Language Studies, 2017, 9(2021), 1 |
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| Übergeordnetes Werk: |
volume:9 ; year:2021 ; number:1 |
| Links: |
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| DOI / URN: |
10.7592/EJHR2021.9.1.Vorobyeva |
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| Katalog-ID: |
DOAJ069223750 |
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| 520 | |a Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy. | ||
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10.7592/EJHR2021.9.1.Vorobyeva doi (DE-627)DOAJ069223750 (DE-599)DOAJ4131de19603144078333ad1fb9f005f1 DE-627 ger DE-627 rakwb eng Maria Vorobyeva verfasserin aut Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil 2021 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy. soviet satire cinemagazine 'fitil' themes and subjects of satire comicality Language and Literature P In The European Journal of Humour Research Cracow Tertium Society for the Promotion of Language Studies, 2017 9(2021), 1 (DE-627)783789688 (DE-600)2766582-3 2307700X nnns volume:9 year:2021 number:1 https://doi.org/10.7592/EJHR2021.9.1.Vorobyeva kostenfrei https://doaj.org/article/4131de19603144078333ad1fb9f005f1 kostenfrei https://www.europeanjournalofhumour.org/index.php/ejhr/article/view/488 kostenfrei https://doaj.org/toc/2307-700X Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ SSG-OLC-PHA GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_74 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_2863 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 9 2021 1 |
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10.7592/EJHR2021.9.1.Vorobyeva doi (DE-627)DOAJ069223750 (DE-599)DOAJ4131de19603144078333ad1fb9f005f1 DE-627 ger DE-627 rakwb eng Maria Vorobyeva verfasserin aut Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil 2021 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy. soviet satire cinemagazine 'fitil' themes and subjects of satire comicality Language and Literature P In The European Journal of Humour Research Cracow Tertium Society for the Promotion of Language Studies, 2017 9(2021), 1 (DE-627)783789688 (DE-600)2766582-3 2307700X nnns volume:9 year:2021 number:1 https://doi.org/10.7592/EJHR2021.9.1.Vorobyeva kostenfrei https://doaj.org/article/4131de19603144078333ad1fb9f005f1 kostenfrei https://www.europeanjournalofhumour.org/index.php/ejhr/article/view/488 kostenfrei https://doaj.org/toc/2307-700X Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ SSG-OLC-PHA GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_74 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_2863 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 9 2021 1 |
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10.7592/EJHR2021.9.1.Vorobyeva doi (DE-627)DOAJ069223750 (DE-599)DOAJ4131de19603144078333ad1fb9f005f1 DE-627 ger DE-627 rakwb eng Maria Vorobyeva verfasserin aut Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil 2021 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy. soviet satire cinemagazine 'fitil' themes and subjects of satire comicality Language and Literature P In The European Journal of Humour Research Cracow Tertium Society for the Promotion of Language Studies, 2017 9(2021), 1 (DE-627)783789688 (DE-600)2766582-3 2307700X nnns volume:9 year:2021 number:1 https://doi.org/10.7592/EJHR2021.9.1.Vorobyeva kostenfrei https://doaj.org/article/4131de19603144078333ad1fb9f005f1 kostenfrei https://www.europeanjournalofhumour.org/index.php/ejhr/article/view/488 kostenfrei https://doaj.org/toc/2307-700X Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ SSG-OLC-PHA GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_74 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_2863 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 9 2021 1 |
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10.7592/EJHR2021.9.1.Vorobyeva doi (DE-627)DOAJ069223750 (DE-599)DOAJ4131de19603144078333ad1fb9f005f1 DE-627 ger DE-627 rakwb eng Maria Vorobyeva verfasserin aut Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil 2021 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy. soviet satire cinemagazine 'fitil' themes and subjects of satire comicality Language and Literature P In The European Journal of Humour Research Cracow Tertium Society for the Promotion of Language Studies, 2017 9(2021), 1 (DE-627)783789688 (DE-600)2766582-3 2307700X nnns volume:9 year:2021 number:1 https://doi.org/10.7592/EJHR2021.9.1.Vorobyeva kostenfrei https://doaj.org/article/4131de19603144078333ad1fb9f005f1 kostenfrei https://www.europeanjournalofhumour.org/index.php/ejhr/article/view/488 kostenfrei https://doaj.org/toc/2307-700X Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ SSG-OLC-PHA GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_74 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_2863 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 9 2021 1 |
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soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine fitil |
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Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil |
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Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy. |
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Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy. |
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Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy. |
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