Changes in Soviet Values

Changes in Soviet Values Films in the Soviet inwardness during Stalins rule were primarily made for propaganda purposes. Some of the most famous films at the time were Chapaev, Circus, and Moscow Doesnt Believe in crying, which were all were aimed at describing Soviet Values during and after Stalins rule. The film Chapaev was produced in 1934 and was plant during the Russian civilian War, and like Circus, which was produced two days later, they both reflected Soviet ideals of Stalins rule. Moscow Doesnt Believe in Tears was produced in 1980, and it showed the alternates in Soviet value after Stalins reign in the 1950s and 1970s.Even though each of these propaganda films is set in divers(prenominal) time periods, each one illustrates the ever-changing well-disposed value of that time. The pic Chapaev was directed by the Vasilyev brothers and was produced in 1934. The impression depicts the write up of a s ancientier made com populaceder named Vasily Ivanovich Chapaev, who l ed the Red arma handst to victory in the Russian Civil War. The main theme portrayed in Chapaev is the idea of social realism, and to show this the producers tell the story of the Soviet principals of equality within society, and the growth of the companionship.In one scene of the movie, Chapaevs men loot local farmers, and Chapaevs newly appointed commissar arrests the men bear on and knuckle under the livestock. Initially, Chapaev was angry with his new commissar for arresting his men, as he feels he was undermining Chapaevs power, but he learned to agree with him because the peasants supported him upon the proficient return of their livestock. Chapaevs new commissar explained to him that the entire war was being fought for the peasants, and by stealing from them it was hurting their image.This scene shows the equality within society that the Bolshevists fellowship was going for, and therefore the party gained to a greater extent support. This scene in circumstance was pr opaganda because in war, armies do steal from farms, thats just a fact, but when they return the livestock it makes the Bolshevik party look patriotic and respectful. In this movie Chapaev is portrayed as a flawless example of what a Soviet man should be like. He is a man who believes in either man being equal and in order for a party to strive it has to be focused on the needs of the group not just the individual.In Soviet History Chapaev is considered a hero and justly so, his stand against theft and sacrifice for the war effort makes him an ideal Soviet man. The movie Circus was directed by Grigori Aleksandrov and was produced in 1936. Similar to the movie Chapaev, the theme in Circus is focused on equality in the society and the growth of the party. The movie depicts the story of Orlova, an American circus creative person who is forced to flee the racism in America after liberal birth to a black baby. Orlova ends up in Russia and start her circus career there, and she become s a huge star.In fear of being exposed, Orlova rest in the circus and works for her cruel German boss von Kneishitz. Von Kneishitz is the unless person in Moscow who knows about her black baby, but he is also the only person in Russia who cares that her baby is black. The movie climaxes with the bring out of her baby to her be whapd audience, but in contrary to what Kneishitz thought would happen, the audience shows the baby love by passing him around and singing a lullaby to him. When Marion asks the Ring Master to explain everyones reaction, he says, In our country, we absolutely love children.You may have a child of each color here black, white, red, or even striped like a zebra or polka-dotted. Whatevers your pleasure It cannot be denied that this movie is a propaganda film. It portrays that everyone is equal in the Soviet Union and that everyone is antiracist. In fact, in the 1930s Jews were highly discriminated against, as conclusion through public anti-Semitism. Theref ore, we see the films impression of racial equality as false. The movie Moscow Doesnt Believe in Tears, (Moscow for short) was directed by Vladimir Menshov and was produced in 1980.The movie begins in the 1950s and goes until the 1970s. Although this film correctly shows a wobble in Soviet ideals, it is important to note that Moscow does have roughly(prenominal) levels of propaganda. For example, Katerinas lover, Gosha, is seen as the ideal model citizen, especially when Katerina and Gosha talk about how Gosha is improve and flawless. It need not be said that nobody is perfect, but the films portrays Gosha as the ideal citizen. This time period was significant in Soviet fib because it showed a transition in Soviet values.This movie shows how traditional values in the Soviet Union became modernized as time progressed in the post Stalin era. During the 1970s, the Soviet Union became neo-traditionalist, in the sense that they held on to their old values while attaining new ones. For example, we get a clear fellow feeling of how Russia was adjusting to time with the development of Tonya, Ludmilla, and Katerinas live styles. Of all the three main women in the play, Tonya is the best example of a traditional Soviet lifestyle. She marries at a young age and settles for a domestic life with a man that makes a respectable living.Katerina, on the other hand, marries at a more than older age but to a man named Gosha who exhibits traditional Soviet values as well. For example, after Gosha gets in a fight, Katerina forbids him from ever scrap again, and Gosha agrees, but tells Katerina if she ever yells at him again he will pass her. Later in the same conversation, Gosha tells Katerina that it goes against his values that a woman makes more money than a man. This shows that there are still traces of traditional Soviet values in 1970 Russia.Tonya and Gosha both show that there are cogitate to traditional soviet values even though its thirty years after Stalins re ign. In contrast to the way Tonya and Gosha live, the lives of Ludmilla and Katerina give us examples of how Soviet values changed and modernized over time. For example, in the beginning of the film, signs of change in Soviet values are apparent. Early in the film, Katerina and Ludmilla go to the French Film Festival to admire the rich and famous. Ludmilla admits to Katerina how she thinks one of the female actresses is beautiful, and how she would love to live the life of her.This shows how people, especially women, were being exposed to materialism in Russia, and it was socially acceptable to aspire to be rich and famous. Katerina also shows a change in Soviet values for women. She is the head of a green goddess after a series of floor promotions, and she lives in a twee apartment providing for her family. This is a perfect example of Soviet values changing from the idea that women in the Soviet Union didnt have rights or power, to the modernized Soviet values where women were p owerful.In conclusion, the movies Chapaev, Circus, and Moscow Doesnt Believe in Tears are all largely applauded films that show the history and progression of changing Soviet values. Chapaev and Circus were both produced under Stalins reign, and they both obtain some amount of Soviet propaganda as well as accurate references to Soviet values. They portray the traditional Soviet ideals of equality and unity of the Bolshevik party and how they were foremost in Soviet society.On a different note, Moscow takes place in a much later time, and proves that some Stalin era Soviet ideals were kept, but the attempt for modernization brought a needful change in the ways people lived. As a solvent of the two sets of values portrayed through Gosha and Tonya, and Ludmilla and Katerina respectively, we see that Soviet ideals last became neo-traditionalistic. The shift in Soviet ideals occurred because Stalins long and influential reign came to an end. by and by such a long time of repression, it can be argued that this change was inevitable.