Stephen Hutchings, Natalia Rulyova

Television and Culture in Putin's Russia (eBook, PDF)

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• Format: PDF

Produktbeschreibung

This book examines television culture in Russia under the Putin government. It demonstrates how broadcasters have been enlisted in a national identity project to install a latter-day version of imperial pride in Russian military achievements, over which Putin's government exerts a form of remote control.

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Produktdetails

• Verlag: Taylor & Francis
• Seitenzahl: 272
• Erscheinungstermin: 2. Juni 2009
• Englisch
• ISBN-13: 9781135277925
• Artikelnr.: 42830643

Autorenporträt

Stephen Hutchings is Chair in Russian Studies in the Department of Russian Studies, University of Manchester, UK. He is the author of Russian Literary Culture in the Camera Age: The World as Image (2004), and co-editor of Soviet and Post-Soviet Screen Adaptations of Literature: Screening the World (co-edited with Anat Vernistki, 2004), both published by Routledge.

Natalia Rulyova is Lecturer in Russian at the Centre for Russian and East European Studies, University of Birmingham, UK.

Inhaltsangabe

Introduction. Chapter 1. '(Dis)informing Russia: Media Space and Discourse
Conflict in Post-Soviet Russian Television News'. Chapter 2. 'St Petersburg
300: Television and the Invention of a Post-Soviet Russian (Media)
Tradition'. Chapter 3. 'Russia's 9/11: Performativity and Discursive
Instability in Television Coverage of the Beslan Atrocity'. Chapter 4.
'Promiscuous Words: The Post-Soviet Tok-shou as Cultural Mediator and
Hegemonic Pressure Point'. Chapter 5. 'Unfulfilled Orders: Failed Hegemony
in Russia's (Pseudo) Military Drama Serials'. Chapter 6. 'Laughter at the
Threshold: My Fair Nanny, Television Sitcoms and the Post-Soviet Struggle
Over Taste'. Chapter 7. '(Mis)appropriating the Western Game Show: Pole
Chudes [The Field of Miracles] and the Double-edged Myth of the Narod'.
Chapter 8. 'Russian Regional Television: At the Crossroads of the Global,
the National and the Local'. Chapter 9. 'Television through the Lens of the
Post-Soviet Viewer'. Conclusion. Bibliography.