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This book examines how far the collapse of the Soviet Union represented a threshold that initiated change and whether there are continuities which gradually reshaped cinema in the new Russia. It considers a range of films and film-makers and explores their attitudes to genre, character and aesthetic style.
This book examines how far the collapse of the Soviet Union represented a threshold that initiated change and whether there are continuities which gradually reshaped cinema in the new Russia. It considers a range of films and film-makers and explores their attitudes to genre, character and aesthetic style.
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Autorenporträt
Birgit Beumers is Professor of Film Studies at Aberystwyth University. Eugénie Zvonkine is an Associate Professor of Cinema at the University of Paris 8.
Inhaltsangabe
Acknowledgments & Note on Transliteration
Contributor Details
List of Illustrations
Introduction
Re-construction, or perestroika: re-visioning, re-making, re-framing
Birgit Beumers and Eugénie Zvonkine
Part I. Styles
1 Perestroika and Parallel Cinema
2 Soviet Comedies for 'Our Time': Cinematic Remaking in 21st-Century Russia
3 The Journey of a Film: Aleksei Gherman's Hard to Be a God, 1968-2013
4 'Waiting for Change': Sergei Solov'ev and the Dreams of the Young Generation
Part II. Characters
5 The Prostitute as Everywoman: The Role and Evolution of the Sex Worker in Russian Cinema
6 'Thank God We're Not Alive': The Rock Star in Soviet and Post-Soviet Cinema.
7 Neither Here, Nor There: The Trickster in the Cinema of Perestroika and the Early 1990s
8 'We'll meet in Tahiti': The Traveller between East and West in Russian Films of the 1990s
Part III. Genres
9 Reality Excess: Chernukha Cinema in the Late 1980s
10 A Genre in Crisis? Satirical Comedy during Perestroika
11 Articulating Dissonance between Man and the Cosmos: Soviet Scientific Fantasy in the 1980s and its Legacy
12 Revising History, Remaking Heroes: Soviet-Russian Cinema and the Civil War
