Does a pile of presences make kind? If it is difficult to answer in the affirmative, the fact remains that from 1985, and once again the perestroika launched, the horrifying presences multiply on Soviet screens, sometimes giving rise to horror films in good and due form, in addition to the adaptations of classic works by the first studio in the country, Mosfilm The invisible man (Andrei Zakharov, 1985) and Dr. Jekyll and Mr. Hyde (Aleksandr Orlov, 1986) Soviet spectators discover on screens, in September 1987, a pastiche from a horror film, Otchen strachnaia istoria, (A very scary story, Nikita Khubov, 1986) and in March 1988, released Zakliatie doliny zmei (The Curse of the Snake Plain, Marek Pestrak, 1987). If the last two examples are rather light genres, mixing adventures and comedy, from 1989, the horror is no longer hidden in Psy (the Dogs, Dmitrii Svetozarov, 1989) and Sem’ia vourdalakov (the Family of vampires, Gennadi Klimov, 1990), officially classified by the Goskino in the category “horror film” (film ujasov), a precedent: the turning point started at the end of the 1970s is indeed accomplished. Visit https://best-putlocker.com for the best choices.
Let us summarize
Even if the proportion of films with horrific presences would be minimal if we compare it to the total of the titles released annually on the Soviet screens, and insignificant compared to the richness of the catalog of the Western countries, it does not deserve less to be found. Quantitatively negligible, these scary film crumbs remain qualitatively significant if we take into account the constraints suffered by the Soviet film industry and its actors. In a way, this confirms the idea put forward at the time by Marc Ferro, a film that is overwhelmed by its content.
- Above all, the use of the concept of presences has made it possible to highlight the dissemination of discourses constituting a culture of horror film, and this, before it appeared on the screens, this culture took advantage of an increasingly favorable context Great Patriotic War, popularity of folklore, cold war, to paradoxically constitute an integral part of the Soviet system which rejected it, however.
This culture spreads not only through a rather “liberal” press, but also through much more conservative newspapers which nuance the received idea of media obedient as one man in the Party line: by an occurrence, the line is not fixed, it fluctuates. If the question of the reasons for these presences remains largely open what about the intentions of the directors?, A certain number of hypotheses based on known precedents allows the interpretation of these “crumbs” as so many quotes made possible by the existence horrific cross-border influences: this shows that the “Iron Curtain” may have to be considered as an interface rather than a barrier. In the end, the example of these “gender crumbs” seems to us emblematic of a change in the Soviet system which is ultimately fatal to it.
This shows that perhaps the “Iron Curtain” should be viewed as an interface rather than a barrier. In the end, the example of these “gender crumbs” seems to us emblematic of a change in the Soviet system which is ultimately fatal to it.this shows that perhaps the “Iron Curtain” should be viewed as an interface rather than a barrier. In the end, the example of these “gender crumbs” seems to us emblematic of a change in the Soviet system which is ultimately fatal to it.