In addition, the study aims to show the differences in the functioning of the culture in the NEP period and in the Stalinist period

The main aim of the research is to identify and analyze the different discourses for the construction of desire of the Soviet subject and their differences in the context of the early period of development of Soviet culture and the Stalinist period following the example of literature and cinema. In addition, the research aims to demonstrate the differences in the functioning of culture in the NEP period and in the Stalinist period. It has been shown that the cultural and artistic objects of the Soviet culture of the Stalinist period, while retaining their indirect function, also began to act as fetishes, replacing the lack of practical implementation of socialism.

The main purpose of this thesis is to determine and analyze the different discourses of desire developed during the first two decades of the Soviet Union in novel and film, and also to establish the differences between the NEP and the Stalinist period.

THE TWENTIES: A TIME OF MULTIPLICITIES

IN SEARCH OF A SOVIET LITERATURE

In terms of time and tradition, they are closer to the authors of the Silver Age. One of the dominant positions in the early twenties was that of proletarian writers. Later, in the second part of the thesis, the characteristics of this literary movement will be extensively discussed.

But the spirit of a decade does not always die with the end of the same decade.

PLATONOV’S THE FOUNDATION PIT: MIMETIC DESIRE AND THE ABSENCE OF

The disillusionment coincides with Platonov's first attempts as a novelist in the second half of the twenties. Furthermore, Platonov's novel parodies and subverts some of the features of the Utopian novel. Nevertheless, Platonov's novel is not realistic, but adheres more comfortably to the old conception of the parodic novel.

Kozlov, Safronov and the Activist are less aware of the fact that they act by imitation.

IN SEARCH OF A SOVIET CINEMA

And mostly these films would be directed by Denise Youngblood (1991), who she called "The Old Guard". He believed that an ideological message can reach an audience only through a well-taught format. This is something that Eisenstein, as we shall see later, developed and took a step further. Kulsesh's successful film was The Extraordinary Adventure of Mr. The film tells the story of an American named John West who travels to the USSR to promote the YMCA; when he arrives, he loses his suitcase and ends up with a group of thieves.

For Benjamin, film emerged as a new art that could fulfill "the desire of the modern masses to 'bring things closer' spatially and humanly" (Benjamin, 1965, p. 5).

DZIGA VERTOV: THE PHANTASM AND THE EYE

• THE RIGHT TO BE FILMED IN DZIGA VERTOV
• THE PHANTASM AND THE ORGANIC COLLECTIVE

Later, in 1923, he would film A Sixth Part of the World showing remote industrial areas of the Soviet Union, but the film where all his ideas about the cinema eye crystallized was The Man with the Movie Camera (1929). The reason it is considered his best film is because of the unique (at the time) use of montage. Furthermore, the section will expand on the topic of the phantasm in relation to dramatized film, and how Vertov's tried to get rid of it through the cinema eye.

The plot of the film is not relevant, but it is worth describing how it ends. When cinema became the dominant form of art (at a discursive level), it inherited some of the problems of the novel. The film shows how man frees the camera, depicting impossible images: long shots of the city, large.

The act of editing is also shown in Dziga Vertov's film and is also a crucial part of it. Another example is the superimpression of two shots that make it seem as if the man with the movie camera is standing on top of a roof, implying the possibilities of the cinema of facts. In The Man with the Movie Camera, the individual's need to become a collective subject is represented by the constant juxtaposition of shots of individuals and wide shots of the city with people engaged in economic activities.

One of the most obvious references in the film is the man with the movie camera himself, through the union of him and the camera he embodies this new era where man interacts with technology and act together as one. Rather, what is shown is how each part of the collective acts towards the goal of the whole.

EISENSTEIN AND THE CINEMA OF ATTRACTIONS

• THE RIGHT TO BE FILMED IN EISENSTEIN
• THE EMOTION AND THE ATTRACTION

In the most decisive and spectacular parts of the film, the spectator can see the clash between collective subjects: masses. The same happens in the mutiny scene at the beginning of the film. The process of dehumanization or the difference in treatment comes from establishing individual shots of the masses, focusing on their struggle.

Vakulinchuk's death leads to the grief and rage of the masses and the unification of the people of Odessa. The end goal, as we see, is the same as in Dziga Vertov: to make the spectators aware of the whole to which they belong. The film's plot and story should also be based on the idea of ​​conflict.

Once the theme of the film is chosen, it is important to construct a plot and structure filled with emotion and conflict. For example, the crew complains about the meat and the end result is a mutiny on the ship, Vakulinchuk's death provokes a reaction from people in the port. For him, single shots contain meaning in themselves and they must be in accordance with the theme of the film.

The analysis has shown that the novel functions as a parodic novel that reveals the nature of metaphysical desire and its mimetic function. In conclusion, regardless of the diversity of discourses in cinema, unlike in literature, satisfying discourses were implemented in it.

THE STALINIST CULTURE: THE PHANTASM AND THE FETICHE

THE SOVIET NOVEL: A CASE OF NEW CHIVALRY

• THE NATURE OF HEROES
• THE HERO AND THE WORLD
• THE CONFLICT BETWEEN DUTY AND THE INDIVIDUAL

Throughout the novel, both Pavel and the narrator try to convince the reader that he is going through a journey of self-discovery, that in the end Korchaguin is not the same as he was when he was a child. At one point in the novel, Pavel says that he is not the kind of child who was heavily influenced by novels about romantic revolutionaries. As a result, the hero is destined from the beginning to fight to be the ideal norm and impose it in the world.

Does not accept mistreatment and abuse; he confronts his co-workers when he discovers that they are prostituting girls in the cafe. It could be argued that the Soviet Union in the novel is also a place in constant danger. The first part of How Steel Was Tempered presents a world in the midst of war with enemies like Petluria, exploiters and thugs, while the second part of the book deals with saboteurs, Trotskyists, corrupt politicians and tyrannical father figures.

In the novel, this problem is evident not only through the experiences of Korchaguin, but also through the experiences of his friends. However, a distinction can be made between the world presented in the chivalric novel and the socialist novel. The ideal world depicted in the Soviet novel was not a fully realized world, but a world in transit.

Thomas Pavel (2005) notes in the book the persistent tension in the novels of chivalry between two aspects of the hero: for one part is his duty to the world and his personal salvation. The third time his health and duty come into confrontation occurs in the railway episode.

MUSICAL AND THE JOY OF LIFE

• FLIGHT TO THE MOON
• SONG TO THE MOTHERLAND
• FLIGHT TO THE STRATOSPHERE

Later, when analyzing the film Circus (1936), we will see how space is presented as an achieved utopia. The musical depicts the values ​​of a socialist utopia, but the presented reality is not true. But probably the most important characteristics he borrowed were the introduction of a love triangle into the argument and the assertion of ideology in a light-hearted manner.

When she gets on the train, an image of the ground is presented at the back of the train. Instead, it disappears onto the same stage in the circus, where Marion's act is about to start. Instead, it is safe to say that these were the stereotypical features of the Soviet hero of the time.

Given these characteristics, it is only natural that they find themselves part of the entanglements that occur in the film. First, this scene serves as a counterpart scene to the "flying to the moon" number at the beginning of the film. If the ideal themes of individualism and sensuality were present in the capitalist version of the number, the opposite can be observed here.

Instead, we see the main characters marching down the street and singing the Song of the Motherland again. But almost by the end of the movie, the viewer sees the Socialist Utopia outside of this non-place that was the circus' downfall.

RESHAPING THE PAST THROUGH CINEMA

As many academics have pointed out, the film was a device to boost patriotism among the people, because of the foreseeable coming war against Germany. The following paragraphs will explain what the main functions of the national leader are through the representation of Aleksandr Nevsky, and how these qualities do not contradict the principle of a proletarian society in the film. Furthermore, if Nevsky was the representation of the ideal man, Bulsay and Gavrilo would strive to be like him.

However, it is the author's opinion that the film explores both themes: common men, peasants and fishermen are still understood as a class that exercises executive power as part of the state. In this part of the research, it was intended to explain the changes that occurred during the first decade of the Stalinist period. The film circus is an example of this: the socialist utopia is not depicted in the distant future, but in the present, the film's comic character adheres to Shumyatsky's request to represent the joy of life.

The film maintains its mediation function and presents the ideal image of a man through Petrovič and the ideal image of a woman through Marion at the end of the film. The section analyzed the film Alexander Nevsky: it presents the prince as a simple man who is chosen by the masses to embody their national qualities, a fetish that reigns in the domain of the symbolic and through which the spirit of the nation is expressed. . The research explored the various discourses of desire construction and mediation techniques that developed during the NEP period and the first decade of the Stalinist period.

The second part of the research described the most fundamental changes that shaped Stalinist culture. In Feminizing the Fetish: Psychoanalysis and Narrative Obsession in Turn-of-the Century France (pp.