Contemporary Russian Cinema: Symbols of a New EraEdinburgh University Press, 12. apr. 2016 - 304 sider Analysing films by established directors such as Sokurov and Zel'dovich, as well as lesser-known filmmakers like Balabanov and Kalatozishvili, this book explores the particular style of film presentation that has emerged in Russia since 2000, characterised by its use of highly abstract concepts and visual language. |
Indhold
| 1 | |
1 Abstracted Subjectivity and | 36 |
Aleksandr Proshkins The Miracle 2009 | 54 |
Aleksei Balabanovs Morphine 2008 | 72 |
Nikolai Khomerikis | 109 |
8 Body in Crisis and | 163 |
10 Intentionality and | 199 |
Aleksandr Zeldovichs The Target 2010 | 236 |
| 258 | |
| 264 | |
| 281 | |
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Almindelige termer og sætninger
abstract aesthetic Aleksandr Andrei appears Badiou Balabanov becomes body calls camera Chapter characters conceived concept concerns construction contemporary continues creates cultural darkness dead death demonstrates director discourse discussion double effect Elena emerges event example existence experience explore fact Field figure film final focus function gaze Goddess hand idea identity interpretation knowledge Lenin living looks matter meaning memory Moscow mother movement moves multiple nature Nirvana non-knowledge notes object ontology opens origins particular performance period person play political position possibility posthumous present produces provides realm reference relation relationship remains repetitive representation result reveals rupture Russian cinema scene screen sense shows signification Silent similar social Sokurov’s Souls Soviet space speaks spectator story structure suggests symbolic mode symbolises takes temporal tion tradition truth visual voice whereby Zviagintsev