Konstantine Klioutchkine’s «Reasons for Cheburashka’s Popularity» suggests that the appeal of the Cheburashka cartoon series (1969, 1971, 1974, 1983) derived from the possibilities it offered for dual reception. Speaking the late-Soviet language of warm human values, the cartoon also articulated the experience of alienation. Cheburashka allowed its viewers to preserve normative optimism, while also helping them to work through their sense of estrangement. The article builds on Sergey Kuznetsov’s observations and also draws on Mark Lipovetsky’s concept of the trickster (both in this volume).
Lilya Kaganovskaya’s «The Arms Race, Transgender, and Stagnation: Wolf and Hare in the Con/Subtext of the Cold War» places the animated series Just You Wait! (Dir. Vladimir Kotenochkin, 1969) in the context of Cold War politics and the discourse of late socialism. Drawing on the works by Judith Butler, Jacques Lacan, Slavoj Ћiћek, and Alexei Yurchak, Kaganovskaya explores the ways in which Cold War rhetoric intersects with and is undone by gender-bending, the breakdown of binary opposites, and the disruption of normative categories of identification and mis/recognition.
Elena Prokhorova’s «Going to Bed as a Device, or What Did Khriusha and Stepashka Teach Us?» argues that the children’s television program Good Night, Little Ones! provides for contemporary Russian viewers not only a memory vehicle evoking post-Soviet nostalgia themes, but also one of the few media icons relevant for the common media identity. Created in 1964, Good Night, Little Ones! was one of the first serialized television shows with a fixed time slot and the only show that has been continuously broadcast on Russian television after the end of the Soviet Union and the rise of Russian commercial television culture. The author examines the changing format of the show and its heroes in the Soviet and post-Soviet television.
Elena Baraban’s «A Utilitarian Idyll» examines three popular cartoons about the village of Prostokvashino. Based on children’s stories by Eduard Uspensky, these cartoons provide valuable clues for the understanding of late-Soviet society. Baraban interprets the characters and situations depicted in the series as a critique of Soviet utopianism typical of the 1960s and 1970s. The idyll of Prostokvashino is made possible by the protagonists’ pragmatism and even utilitarianism, qualities that had previously been criticized within Soviet culture.
Ilya Kukulin’s «The Fourth Law of Robotics: The Mini-Series The Adventures of Elektronik and the Formation of the Generation of the 1990s in Russia» analyzes the social context of the image of the boy-robot Elektronik from Yevgeny Veltistov’s children’s stories, published between 1964 and 1975 and adapted for television in a 1979 mini-series. Conceived in the stories as a participant in the utopian project of developing specialized mathematical schools as «crystallisation points» for a future society, Elektronik was reinterpreted in the mini-series as a member of a group of friends attempting to gain independence from an adult world. This reinterpretation, supported by successful casting decisions, was responsible for achieving a cult status for the mini-series. Taking into consideration that Veltistov was not only a writer but also a liberal functionary of the Communist Party, Kukulin explores the ways in which the stories and the mini-series reflected the developments within the Party and among the cultural elites.
Alexander Barash’s «Cat and Mouse Game with Violence» discusses the treatment of violence in the animated series The Adventures of Cat Leopold (1975-87). Barash argues that the high degree of violence in the cartoon corresponded to the emotional and social realities of late-Soviet society. The incessant persecution experienced by Leopold constituted a cultural norm and invited the viewers to identify with the titular character, thereby desencitizing them to the violence directed against them and others. Moreover, the cartoon encouraged viewers to be aggressive as a way of self-defense.
