Russian Active Measures. Группа авторов

17 December 1983, p. 2.

69 Gamolsky, Efremenko, and Inshakov, 137.

70 For more about this film and similar cases during perestroika, see Richard Stites, Russian Popular Culture: Entertainment and Society Since 1900 (New York: Cambridge University Press, 1992), 152, 168, 170; interview with Ihor T., a retired KGB officer, 15 May 1991, Dnipropetrovsk, Ukraine; Ihor T. also mentioned the Italian film’s influences on Ukraine’s youth.

71 Tsentralnyi Derzhavnyi Arkhiv Hromadskykh Obiednan Ukrainy (TsDAHOU), f. 7, op. 20, spr. 3087, ark. 43 (“Otchet Dnepropetrovskogo OK LKSMU ot 23 dekabria 1983 g.”).

72 HDA SBU, f. 16, op. 1, spr. 1197, ark. 30–31, 68–69; spr. 1200, ark. 236–237; interview with Ihor T., a retired KGB officer, 15 May 1991, Dnipropetrovsk, Ukraine.

73 On how Soviet young consumers used films about the Italian mafia by Damiano Damiani to criticize the USSR as a mafia state, see Sergei I. Zhuk, “‘The Disco Mafia’ and ‘Komsomol Capitalism’ in Soviet Ukraine during Late Socialism,” in Material Culture in Russia and the USSR: Things, Values, Identities, ed. Graham H. Roberts (London and Oxford: Bloomsbury Publishing, 2017), 173–95.

74 HDA SBU, f. 16, op. 1, spr. 1192, ark. 68–69; f. 16, op. 1, spr. 1199, ark. 49.