Film and Television Genres of the Late Soviet Era

Cover page\nHalftitle page\nTitle page\nCopyright page\nContents\nList of illustrations\nAcknowledgments\nIntroduction\n	Approaches to film and television genres\n	Why television?\n	The difficult fate of genre studies in the USSR and Russia\n	Overview of chapters: from socialist realism to film genres\n1 Prestige Productions: Epic Film as a Tool of Hard and Soft Power during the Cold War\n	Syntax and semantics of the genre\n	War and Peace: art cinema on state service\n	Liberation : war spectacle and the politics of memory\n	Postscript: the revival of prestige productions under Putin\n2 The Socialist Television Police Procedural of the 1970s and 80s: Teaching Soviet Citizens How to Behave\n	Syntax and semantics of the genre\n	The Investigation is Conducted by Experts: the Soviet police procedural is born\n	The Meeting Place Cannot Be Changed: the romantics of the criminal underworld\n	Postscript: streetwise cops meet the Russian mafi a\n3 Late-Soviet Comedy: Between Rebellion and the Status Quo\n	Syntax and semantics of the genre\n	El’dar Riazanov: the trappings and traps of private life\n	Mark Zakharov’s television films: between the romance and the sitcom\n	Postscript: the living and the (un)dead\n4 Reinventing Desire: Late-Socialist Melodrama\n	Syntax and semantics of the genre\n	Television melodrama\n	Cinematic masculinities\n	Late-Soviet “woman’s film”\n	Postscript: televised passions\nConclusion\nBibliography\nFilmography\nIndex