The musical comedy film was perhaps a surprising genre to appear and flourish in the Soviet Union during the 1930s, a decade traditionally associated with the grimmer realities of Stalin's ruthless consolidation of power, show trials, and purges. Despite (and in many ways because of) this, the musical comedy became quite popular, with audiences and officials alike. Its creation did not, however, proceed without controversy or difficulty. In this article, I examine how director Grigory Aleksandrov and composer Isaak Dunayevsky drew on well-known and well-liked American musical and cinematic models to construct the first Soviet musical comedy film,Jolly Fellows(1934), and the role of music in the controversy that the film sparked. I argue that in choosing musical content appropriate for contemporary Soviet viewers and transmitting it by using American-inspired formal structures that rely on music, Aleksandrov and Dunayevsky created a powerful hybrid that spoke convincingly to audiences and critics, who ultimately used the film and its music as a means for debating issues of cultural significance.

中文翻译：

---

“我们的苏联美国主义”：快乐的伙伴、音乐和早期的苏联文化意识形态

音乐喜剧电影可能是 1930 年代在苏联出现并蓬勃发展的一种令人惊讶的类型，这十年传统上与斯大林无情地巩固权力、表演审判和清洗的严峻现实有关。尽管如此（并且在许多方面），这部音乐喜剧还是很受欢迎，受到观众和官员的一致好评。然而，它的创作并非没有争议或困难。在这篇文章中，我将探讨导演格里高利·亚历山德罗夫和作曲家伊萨克·杜纳耶夫斯基如何利用著名且广受欢迎的美国音乐和电影模型来构建第一部苏联音乐喜剧电影，快乐的研究员（1934），以及音乐在这部电影引发的争议中的作用。我认为，在选择适合当代苏联观众的音乐内容并通过使用依赖音乐的受美国启发的正式结构进行传播时，亚历山德罗夫和杜纳耶夫斯基创造了一种强大的混合体，令人信服地向观众和评论家发表讲话，他们最终使用了这部电影及其音乐作为辩论具有文化意义的问题的一种手段。