Abstract
This article explores the production history of Grigorii Aleksandrov’s most underrated musical film, Spring (Vesna, 1947), and situates the film in the context of the era, as well as within Aleksandrov’s work. Spring was created in the slippery space between a mild cultural thaw after World War II and the renewed strictures of Zhdanovshchina. Aleksandrov imagined Spring as a film about film, as his own professional manifesto and declaration of love for the cinematic process, its people and its world. Spring was Aleksandrov’s last musical film and his final collaboration with the composer Isaak Dunaevskii.
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