Grigorii Aleksandrov’s Jolly Fellows (Vesëlye rebiata, 1934) and the Structural Principles of Film Musicals

Vol. 110 (December 2020) by Ira Österberg
Ira Österberg contrasts this early Soviet musical with Hollywood peculiarities of the genre.

Tarkovsky’s Musical Aesthetic in the Context of the Sonic Arts

Vol. 110 (December 2020) by Florian Hollerweger
Florian Hollerweger places Tarkovsky's scores within the 20th century tradition of musicalizing everyday sounds.

A Search for Cultural Identity in Contemporary Musical Films from Russia

Vol. 110 (December 2020) by Alexey Izmalkov
Alexey Izmalkov identifies various compromises in Russian cinema's musical quest for identity.

Eduard Artemyev’s Compositional Strategies

Vol. 110 (December 2020) by Pantelis Lykoudis
Pantelis Lykoudis analyzes Eduard Artemyev's compositional approach through the lens of his collaboration with Tarkovsky.

Zhora Kryzhovnikov’s Best Day Ever (Samyy luchshiy den, 2015)

Vol. 110 (December 2020) by Rachel Stauffer
Rachel Stauffer brings out the reconciliatory pretensions of Kryzhovnikov's blockbuster.

Motivic Merrymaking in the Musical Films of Grigori Aleksandrov and Ivan Pyryev

Vol. 110 (December 2020) by Wolfgang Thiel
Wolfgang Thiel retraces the development of the Soviet musical.

Russian Cinema’s Post-Punk Dream

Vol. 110 (December 2020) by Maxim Plokhikh
Maxim Plokhikh examines the iconic role of Soviet musician Viktor Tsoi on screen.