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Provides 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.
List of contents
Preface
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 Fedorchenkös Cinema
Serguey Oushakine
The Smoke of the Fatherland: Body as Territory, Sexuality as Identity in
Silent SoulsTatiana 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)
Tomhomas 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
Contributors
About the author
Rimgaila Salys is Professor of Russian Studies Emerita at the University of Colorado at Boulder. She is a specialist in twentieth-century film, literature, and art, and the author of the catalogue raisonné of Leonid Pasternak¿s Russian works (OUP) and a study of the musical comedy films of Grigorii Aleksandrov (Intellect Press and NLO). She is also the editor of a collection on Iurii Oleshäs Envy (Northwestern University Press) and the memoirs of Josephine Pasternak (Slavica). Most recently, she has edited and contributed to the two volume Russian Cinema Reader for Academic Studies Press.
Summary
Provides 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.
Additional text
“The Contemporary Russian Cinema Reader makes a solid argument for the study of Russian cinema beyond the context of Russian politics, described as an obsession with Putin in the introduction. Instead, cinema is treated as an integral and important part of Russian culture and society, as a medium for multi-layered and complex narratives, and mediating the contemporary experience of globalism. Lecturers in Slavic/Russian studies of film and/or culture, as well as in courses of global film and/or culture, will find material for their curriculum and class discussions in the volume, while students will get a comprehensive and insightful introduction to various aspects of contemporary Russian cinema. Naturally, any reader interested in contemporary Russian cinema and culture will no doubt find The Contemporary Russian Cinema Reader enjoyable.”
—Åsne Ø. Høgetveit, UiT – The Arctic University of Norway, Apparatus: Film, Media and Digital Cultures in Central and Eastern Europe
