Standard

Guilty pleasure, или Риторика танца в советском кино: 1930е годы. / Vyugin, V.

в: НОВОЕ ЛИТЕРАТУРНОЕ ОБОЗРЕНИЕ, № 191, 13.01.2025, стр. 83-104.

Результаты исследований: Научные публикации в периодических изданиях › статья › Рецензирование

Harvard

Vyugin, V 2025, 'Guilty pleasure, или Риторика танца в советском кино: 1930е годы', НОВОЕ ЛИТЕРАТУРНОЕ ОБОЗРЕНИЕ, № 191, стр. 83-104. https://doi.org/10.53953/08696365_2025_191_1_83

APA

Vyugin, V. (2025). Guilty pleasure, или Риторика танца в советском кино: 1930е годы. НОВОЕ ЛИТЕРАТУРНОЕ ОБОЗРЕНИЕ, (191), 83-104. https://doi.org/10.53953/08696365_2025_191_1_83

Vancouver

Vyugin V. Guilty pleasure, или Риторика танца в советском кино: 1930е годы. НОВОЕ ЛИТЕРАТУРНОЕ ОБОЗРЕНИЕ. 2025 Янв. 13;(191):83-104. https://doi.org/10.53953/08696365_2025_191_1_83

Author

Vyugin, V. / Guilty pleasure, или Риторика танца в советском кино: 1930е годы. в: НОВОЕ ЛИТЕРАТУРНОЕ ОБОЗРЕНИЕ. 2025 ; № 191. стр. 83-104.

BibTeX

@article{69b2477aeff34702b88fc480d2a5b1be,
title = "Guilty pleasure, или Риторика танца в советском кино: 1930е годы",
abstract = "My paper deals with dance in the Soviet cinema of the 1930s. I focus on the period of formation of the socialist realist canon the beginning of which roughly coincides, as it is believed, with the coming of sound in the Soviet film industry. By discussing such popular films as Nikolai Ekk{\textquoteright}s Road to Life, Grigori Aleksandrov{\textquoteright}s comedies Jolly Fellows, Circus, Volga-Volga, and several others, I seek to reconstruct a “choreographic master plot” characteristic of Soviet cultural production of this type under Joseph Stalin. I see the dance in films as a part of the plot and a rhetorical device but also as a special attraction and in many cases a guilty pleasure. {\textcopyright} 2025 Elsevier B.V., All rights reserved.",
keywords = "dancing, socialist realism, Soviet film of the 1930s, Soviet film of the 1930s, dancing, socialist realism",
author = "V. Vyugin",
note = "Export Date: 01 November 2025; Cited By: 0; Correspondence Address: V. Vyugin; Center for Literary Theory and Interdisciplinary Research, Institute of Russian Literature (Pushkin House), Russian Academy of Sciences, Department of the History of Russian Literature, St. Petersburg State University, Russian Federation; email: valeryvyugin@gmail.com",
year = "2025",
month = jan,
day = "13",
doi = "10.53953/08696365_2025_191_1_83",
language = "русский",
pages = "83--104",
journal = "НОВОЕ ЛИТЕРАТУРНОЕ ОБОЗРЕНИЕ",
issn = "0869-6365",
publisher = "Новое литературное обозрение",
number = "191",

}

RIS

TY - JOUR

T1 - Guilty pleasure, или Риторика танца в советском кино: 1930е годы

AU - Vyugin, V.

N1 - Export Date: 01 November 2025; Cited By: 0; Correspondence Address: V. Vyugin; Center for Literary Theory and Interdisciplinary Research, Institute of Russian Literature (Pushkin House), Russian Academy of Sciences, Department of the History of Russian Literature, St. Petersburg State University, Russian Federation; email: valeryvyugin@gmail.com

PY - 2025/1/13

Y1 - 2025/1/13

N2 - My paper deals with dance in the Soviet cinema of the 1930s. I focus on the period of formation of the socialist realist canon the beginning of which roughly coincides, as it is believed, with the coming of sound in the Soviet film industry. By discussing such popular films as Nikolai Ekk’s Road to Life, Grigori Aleksandrov’s comedies Jolly Fellows, Circus, Volga-Volga, and several others, I seek to reconstruct a “choreographic master plot” characteristic of Soviet cultural production of this type under Joseph Stalin. I see the dance in films as a part of the plot and a rhetorical device but also as a special attraction and in many cases a guilty pleasure. © 2025 Elsevier B.V., All rights reserved.

AB - My paper deals with dance in the Soviet cinema of the 1930s. I focus on the period of formation of the socialist realist canon the beginning of which roughly coincides, as it is believed, with the coming of sound in the Soviet film industry. By discussing such popular films as Nikolai Ekk’s Road to Life, Grigori Aleksandrov’s comedies Jolly Fellows, Circus, Volga-Volga, and several others, I seek to reconstruct a “choreographic master plot” characteristic of Soviet cultural production of this type under Joseph Stalin. I see the dance in films as a part of the plot and a rhetorical device but also as a special attraction and in many cases a guilty pleasure. © 2025 Elsevier B.V., All rights reserved.

KW - dancing

KW - socialist realism

KW - Soviet film of the 1930s

KW - Soviet film of the 1930s

KW - dancing

KW - socialist realism

UR - https://www.mendeley.com/catalogue/2575ba55-8330-3cfb-b81c-7420f7f3ae24/

U2 - 10.53953/08696365_2025_191_1_83

DO - 10.53953/08696365_2025_191_1_83

M3 - статья

SP - 83

EP - 104

JO - НОВОЕ ЛИТЕРАТУРНОЕ ОБОЗРЕНИЕ

JF - НОВОЕ ЛИТЕРАТУРНОЕ ОБОЗРЕНИЕ

SN - 0869-6365

IS - 191

ER -

ID: 143203724