The cause, therefore, seems to have been heard. But certainties falter. First of all, the idea that the anxieties projected on the big screen across the Atlantic have no equivalent in the USSR is doubtful: as in the West, the war was a wound, a deep trauma for Soviet society; if in the United States, the Vietnam War fueled the imagination of filmmakers, in the USSR, the place reserved for the Nazi invasion of 1941 in Soviet cinema never failed. In putlocker you can find the best deal.
The Other Option
Second, if the American horror film of the years 1950-1960 constitutes, judging by specialists, a reflection of the anxieties of the “cold war” (but also of a return to repressed sexuality), how to explain that The anti-Western campaigns that alert Soviet opinion to the danger of war, particularly salient under Stalin, has not given rise to films of this kind? Then, the reasons linked to the Soviets’ conception of a genre cinema are also debatable: how to explain that, while importing western westerns, Soviet cinema began to produce, from the 1960s, good westerns and due form, the protest aspects of these being highlighted? 8 Mutatis mutandis, the horror film, an extremely popular genre in the West, intended first for an audience of adults, then for an increasingly young audience (despite the many classifications and prohibitions), would Could he, too, be instrumentalized? – youth being a particularly sensitive category of the population which is the subject of the greatest attention on the part of the authorities: a simple starting hypothesis.
These questions are those of a historian of the “cultural cold war”.
He tried to answer it without the background of a film theorist, an image semiologist. By developing a reflection essentially based on a certain number of hypotheses linked to political and cultural history, by scrutinizing the content of feature films, after having drastically selected a corpus from detailed catalogs, it certainly confirms the absence of a horrific genre in Russia of Stalin, Brezhnev, Andropov and Tchernenko (with Gorbachev the situation becomes more complex), the contrary would have been astonishing. But he made the decision to reopen the file: several points of divergence are at issue.
First, and not least, the definition of the horror film
Woll’s article suggests that the supernatural is required. However, after 1945, the unreal often gives way to the horror of everyday life: psychopaths (men and women), ferocious beasts (sharks and dogs), “primitive” men become the new protagonists of the film. horror 10. In addition, the presence of hemoglobin is not a sine qua none condition, as shown in particular by the “psychological” feature films in the tradition of Rosemary’s Baby (Roman Polanski, United States, 1968).
The second point is more complex but essential:
Does the absence of a particular genre in cinema amount to an absence altogether? If the answer has to summon the concept of gender, the problem is that gender – defined as a broad category of stories united by their location, their characters, their themes and their narrative tensions has been the subject of an already deconstruction by cinema specialists. Far from being a category fixed once and for all, gender is in fact only the fruit of discourse; discourse of a commercial nature (from producers to spectators) and analytical (from theorists to readers), both opposite and complementary. Without denying gender as a category (killing the father is not easy), we decided to use the concept of presence, drawing inspiration, among other things, from the work of Adam Lowenstein.