The history of the Soviet Union has shown that the light heartedness, the insouciance and the naive
optimism, which distinguishes children and adolescents from their parents and grandparents, can
disappear easily in times of war and oppression.
With the takeover of Josef Stalin in the late 1920s, the beginning of one of the darkest periods of
the Soviet Union was announced. Stalin’s totalitarian regime was marked by a rigid
authoritarianism and a widespread use of terror in form of the so-called purges, which would not
end until his death in March 1953.1 In addition to the Stalinist regime, Soviet Union suffered under
the consequences of the Eastern Front War (World War II), in which Soviet Union lost thousands
and thousands of men, and the ensuing Cold War. This more than twenty years of terror, purges
and war was a time in which children rarely had time to be children, and adolescents very seldom
had time for leisure and jauntily dreaming, in short to be young. Nor was it a time in which their
personal suffering, like the suffering of their parents and grandparents, appeared on screen.
Nevertheless was youth represented in Stalinist movies, a lot of young people were showed riding
tractors and starred the popular Stalinist musicals. “Youth was the natural supporter of the new
regime“ and the older generations “could be treated with circumspection” (Gillenspie, 2003, p.
164). Though it was never one person only the starred a Stalinist movie, the hero was the collective
and individual miseries and fates never played a role in Stalinist cinema. Problems of the youth
were hushed up, like all other form of social malaise (Gillespie, 2003, p. 157). Pain and suffering
did barely exist officially and were not represented in the movies of the Stalin era, which were
meant to serve as an instrument of the communist ideology. [...]
Table of Contents
1. Stalinist Cinema
2. The Thaw
3. Stagnation Period
4. Glasnost Era
Objectives and Themes
This paper examines the evolving portrayal of youth in Soviet cinema, tracing how the shifting political climates of Stalinism, the Thaw, the Stagnation period, and Glasnost influenced the representation of young generations on screen.
- The role of cinema as an instrument of communist ideology and collective identity.
- The transition from ideological conformism to critical reflection during the Thaw.
- The emergence of youth disenchantment and moral crisis during the Stagnation period.
- The radical shift toward social critique and subcultural expression during Glasnost.
Excerpt from the Book
The moral guidance of the father-generation
The moral guidance of the father-generation, even if not being in the fore, is still an underlying principle in I Walk around Moscow, while the principle that all fathers can advise their sons gets scrutinized in Ilichs Gate (Gillespie, 2003, p.157). When Sergei is asking the ghost of his father for advice, he gets responded with the words:
Father: How old are you?
Sergei: I´m twenty-three!
Father: I’m twenty-one. How could I advise you? (Tench Coxe, 2000, p.215)
In Ilichs Gate the Moscow of the Thaw era is put into direct dialogue with the Stalin past and the generation that fought in the war, while in I walk around Moscow the past is just playing a secondary role, and the focus is visibly on the bright and shining atmosphere of the present.
Summary of Chapters
Stalinist Cinema: This chapter analyzes how Soviet cinema during the Stalin era served as a tool for ideology, depicting youth as collective supporters of the regime while suppressing individual social issues.
The Thaw: This chapter explores the post-1953 cinematic shift, where films began to capture a more individualistic and euphoric, yet illusionary, atmosphere of youth life.
Stagnation Period: This chapter discusses the portrayal of an "atmosphere of resignation" in films of the 1960s and 1970s, focusing on the disillusionment of youth and the moral crisis within society.
Glasnost Era: This chapter examines the liberalization of cinema in the late 1980s, where films openly tackled social taboos, addiction, and the collapse of the communist value system through the eyes of the youth.
Keywords
Soviet cinema, Youth representation, Stalinism, The Thaw, Stagnation, Glasnost, Perestroika, Communism, Cultural history, Social critique, Counterculture, Film studies, Collective identity, Individualism, Moral crisis.
Frequently Asked Questions
What is the fundamental focus of this research paper?
This paper investigates the depiction of youth in Soviet cinema across four distinct historical periods, analyzing how films mirrored the societal and political changes within the Soviet Union.
What are the primary thematic areas covered?
The core themes include the evolution of ideological control in art, the transition from collective optimism to social disillusionment, and the rise of youth counterculture as a reflection of political liberalization.
What is the main objective or research question of this study?
The objective is to demonstrate how Soviet filmmakers used the portrayal of adolescents and young adults to reflect the shifting realities and constraints of the Soviet political system over several decades.
Which scientific or analytical method is utilized in this paper?
The paper employs a qualitative film analysis approach, contextualizing specific cinematic works within their historical and political frameworks to evaluate their ideological content and social commentary.
What is covered in the main body of the work?
The body of the text provides an chronological analysis of key films from the Stalin era through the Glasnost period, using specific examples like "The Circus," "I Walk Around Moscow," and "Little Vera" to illustrate changing societal dynamics.
Which keywords characterize the content of this study?
The work is characterized by terms such as Soviet cinema, youth representation, Stalinism, Glasnost, social critique, and cultural history.
How did the representation of youth change from the Stalin era to the Glasnost era?
Youth transitioned from being depicted as anonymous, happy, and conformist supporters of the regime to being portrayed as disillusioned, isolated, and critical individuals facing the collapse of established values.
What role does the "generation gap" play in the films discussed?
The generation gap is a recurring motif that highlights the conflict between the values of the older generation and the burgeoning individualism of the youth, often representing broader political tensions.
How does "chernukha" cinema reflect the Glasnost period?
Chernukha films, such as "Little Vera," represent the darkest and bleakest aspects of Soviet life, using the lens of social injustice and family collapse to denounce the failures of the system.
What significance does the depiction of broken families hold in these films?
Broken families in later Soviet cinema are symbolic of the failing communist value system, serving as a primary cause for the hopelessness, desperation, and moral alienation experienced by the younger generation.
- Quote paper
- Anne Schumacher (Author), 2013, Soviet Cinema and Youth, Munich, GRIN Verlag, https://www.grin.com/document/267313
