Contemporary Russian Cinema
Edinburgh 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.
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abstract aesthetic Aist Aleksandr Aleksandr Sokurov Aleksei Aleksei Fedorchenko Alisa analysis Andrei appears Badiou Balabanov body butoh Chapter characters conceived concept Condee construction contemporary Russian cinema cultural dead death Deleuze director discourse Doppelgänger double Elena emerges event evokes example experience explore Faina figure film-makers film’s filmic focus gaze Gelia identity imagery intemporality Kalatozishvili Kirill Serebrennikov knowledge Lenin Litvinova’s Goddess Liubov meaning metaphysical Miracle Mitia Morphine Moscow movement multiple neopagan Nikolai Nirvana non-knowledge object ontology political post-evental post-Soviet posthumous subjectivity present produces provides Putin realm reference relation relationship Renata Litvinova repetitive representation reveals rupture Russian Ark Russian film scene screen Serebrennikov’s Sergei signification Silent Souls socialist realism Sokurov’s Soviet space spectator St George’s Day St Petersburg steppe structure symbolic mode symbolises Tania Target Tatiana’s Taurus television temporal tion tradition transcendental utilised viewer visual Vladimir void whereby Wild Field zigzagged Zviagintsev