Introduction. Russian cinema in the era of globalization / Vlad Strukov -- Dead man's bluff (Aleksei Balabanov, 2005) / Aleksandr Prokhorov -- The sun (dir. Aleksandr Sokurov, 2005) / Denise J. Youngblood -- Cargo 200 (dir. Aleksei Balabanov, 2007) / Anthony Anemone -- Mermaid (dir. Anna Melikian, 2007) / Helena Goscilo -- Hipsters (dir. Valery Todorovsky, 2008) / Rimgaila Salys -- Silent souls (dir. Aleksei Fedorchenko, 2010): imaginary documents: inventing traditions in Aleksei Fedorchenko's cinema / Serguey Oushakine -- The smoke of the fatherland: body as territory, sexuality as identity in silent souls / Tatiana Mikhailova -- My joy (dir. Sergei Loznitsa, 2010) / Justin Wilmes -- Elena (dir. Andrei Zviagintsev, 2011): Andrei Zviagintsev: unblinking chronicler of family crisis and human frailty / Julian Graffy -- Crime without punishment? Andrei Zviagintsev's Elena between art cinema and social drama / Elena Prokhorova -- The target (dir. Aleksandr Zel'dovich, 2011) / Ilya Kukulin -- The horde (dir. Andrei Proshkin, 2012) / Tom Roberts -- Short stories (dir. Mikhail Segal, 2012): lost in translation / Mark Lipovetsky -- Tell me what you know about Russia? / Liliia Nemchenko -- Legend number 17 (dir. Nikolai Lebedev, 2013) / Greg Dolgopolov -- Hard to be a god (dir. Aleksei German, 2013): God complex / Anton Dolin, Aleksei German -- From realism to modernism / Elena Stishova -- Leviathan (dir. Andrei Zviagintsev, 2014) / Julian Graffy -- The land of Oz (dir. Vasily Sigarev, 2015) / Liliia Nemchenko -- My good Hans (dir. Aleksandr Mindadze, 2015) / Steve Norris -- Paradise (dir. Andrei Konchalovsky, 2016) / Jeremy Hicks.
Summary:
"The early years of the twenty-first century have been an exciting transitional period in Russian cinema, as the industry recovered from the crises of the late 1990s and again stepped onto the global stage. During these years four generations, from the late Soviet directors through post-Soviet and New Russian filmmakers to the Russian millennials, have worked in varying visual styles and with diverse narrative strategies, while searching for a new cinematic language. Financing and distribution models have evolved, along with conservative politics driving Ministry of Culture regulation. This reader is intended both for contemporary Russian cinema courses and for modern Russian culture courses that emphasize film. It does not attempt to establish a canon for the period but seeks to provide undergraduate students with an introduction to significant Russian films released between 2005 and 2016 that are also available with English subtitles. The twenty-one essays on individual films provide background information on directors' careers, detailed analyses of selected films, along with suggested further readings both in English and Russian"-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.