| Abstrakt: |
The analysis of the materials published in Crocodile magazine about Soviet cinema shows that under censorship the magazine often published critical reviews of the entertainment genres films, directors of which were not acclaimed by the officials. In those rather rare cases, when the work of renowned film directors were subjected to feuilleton criticism (for example, Russian souvenir by G. Alexandrov), most likely this had been previously agreed on by authorities. Meanwhile, the unauthorized Crocodile’s attack on the “ideologically correct” Soviet film (the incident with the adventure film Invisible Jan) caused a negative reaction of the authorities and the corresponding reprimand of the magazine’s editorial board. The Crocodile’s choice of films for its satirical arrows was largely random, since very often artistically very weak, but very popular Soviet films remained unnoticed by the magazine, while films which either failed to collect a large box-office, or were of true artistic value, for some reason became the subject of caustic ridicule of Crocodile’s feuilletonists and reviewers. The era of perestroika spared the Crocodile from censorship, which significantly reflected on the topics of magazine feuilletons about Soviet cinema, but at the same time it marked the beginning of the crisis of both the satirical magazine, and the Soviet cinema. [ABSTRACT FROM AUTHOR] |
