Contemporary Russian CinemaEdinburgh 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
Aleksandr | |
Aleksandr Proshkins The Miracle | |
Aleksei Balabanovs Morphine | |
Andrei Zviagintsevs | |
Nikolai Khomerikis | |
Kirill Serebrennikovs St Georges | |
Renata Litvinovas Goddess How I | |
Igor Voloshins | |
Aleksandr Veledinskiis Alive | |
Mikhail Kalatozishvilis The Wild Field 2008 | |
Aleksandr Zeldovichs The Target | |
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Almindelige termer og sætninger
abstract aesthetic Aleksandr Aleksandr Sokurov Aleksei Aleksei Fedorchenko Alisa analysis Andrei appears Badiou Balabanov body butoh camera Chapter characters conceived concept conceptualisation Condee construction contemporary Russian cinema cultural dead death Deleuze director discourse double Elena emerges event evokes example experience explore Faina figure film-makers film’s filmic gaze Gelia historical imagery intemporality intentionality Kalatozishvili Kirill Serebrennikov knowledge Lenin Litvinova’s Goddess Liubov Master and Margarita meaning metaphysical Miracle Mitia Morphine Moscow movement multiple Nikolai Nirvana non-knowledge object ontology political post-evental post-Soviet posthumous subjectivity presentation produces Proshkin’s provides Putin realm reference relation relationship Renata Litvinova repetitive representation rupture Russian Ark Russian cinema 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 tradition transcendental viewer visual Vladimir void whereby Wild Field zigzagged Zviagintsev