Ivan Pyr'ev and Rural Musical Comedies in the Soviet Union of the Stalin Era

我在日本俄罗斯语言文学研究协会的年会上发表了题为“伊凡·皮列夫的库班哥萨克中战后集体农庄的表现”的演讲，重点是皮列夫1949年的电影中实地考察的表现。他以前的电影通过描绘日常工作中的斗争来表达苏联的意识形态，而库班哥萨克的特点是在博览会上的有趣元素，以象征的方式进行实地考察，从而暗示了乌托邦社会的实现。Pyr'ev”分析了RGALI中保存的关于Pyr'ev鲜为人知的沙皇场景的档案材料。本文表明，皮耶耶夫的创作意图是塑造一个比S.爱森斯坦的英雄，苏联文化的规范。

My presentation at the annual meeting of the Japan Association for the Study of Russian Language and Literature, "The Representations of the Post-War Kolkhoz in Ivan Pyr'ev's Kuban Cossacks," focused on the representations of fieldwork in Pyr'ev's 1949 film. While his former films express Soviet ideology by depicting struggles in everyday work, Kuban Cossacks is characterized by amusing elements at the fair, with fieldwork undertaken in a symbolized manner, thus suggesting the realization of a utopian society.My paper "The Figure of Ivan the Terrible in an Unrealized Project of I. Pyr'ev" analyzes archival materials kept in the RGALI on Pyr'ev's little-known scenario of the Tzar. This paper shows Pyr'ev's aim in his plan to depict a new hero who was more suited, in contrast to S. Eisenstein's hero, to the norms of Soviet culture.