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This article sets Timoshenko's 1936 musical comedy Goalkeeper (Vratar') into the social, cultural and political context of debates on the functions and organization of sports and physical culture in Soviet society of the 1930s. In doing so it draws on research into participants
in, and spectators of these disciplines, emphasizing aspects of the film's form and style as destabilizing any preferred reading the film might be trying to promote regarding what James Riordan has referred to as abuses of amateur status in Soviet physical culture.
Studies in Russian & Soviet Cinema focuses on pre-revolutionary, Soviet and post- Soviet film, its aesthetic development, and its position between ideology and industry. SRSC invites contributions that constitute original research. The journal seeks to promote research from established scholars as well as to encourage researchers new to the field.