Contemporary Russian Cinema : : Symbols of a New Era / / Vlad Strukov.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2016
• VerfasserIn: Strukov, Vlad,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2016
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (304 p.) :; 24 B/W illustrations

Explores the symbolic mode in relation to contemporary Russian filmOne of the first books to explore Russian cinema in the new millennium, this volume captures the emergence of a new cinematic sensibility and interprets it through the framework of the symbolic mode. Analysing films by established directors such as Sokurov, Zviagintsev and Zel'dovich, as well as lesser-known filmmakers like Balabanov, Fedorchenko and Kalatozishvili, Contemporary Russian Cinema: Symbols of a New Era 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. Whether directed towards a mystical world, or even towards an afterlife, the symbolic mode defines the emergence of a specific mindscape which has escaped previous representational forms and is intrinsically linked to Russia's dramatic political and economic development since the turn of the 21st century.Key FeaturesOffers a new perspective on contemporary film in the symbolic modeProvides a thorough examination of works by established directors such as Sokurov, Zviagintsev and Zel'dovich, as well as lesser-known filmmakers like Balabanov, Fedorchenko and Kalatozishvili

Table of Contents

Frontmatter -- Contents -- Figures -- Acknowledgements -- Note on Transliteration -- Figures -- Introduction -- 1 Abstracted Subjectivity and Knowledge-Worlds: Aleksandr Sokurov's Taurus (2001) -- 2 The Lacking Sense of Cinema: Aleksandr Proshkin's The Miracle (2009) -- 3 Gatekeepers of (Non-)Knowledge: Aleksei Balabanov's Morphine (2008) -- 4 Symbolic Folds and Flattened Discourse: Andrei Zviagintsev's Elena (2010) -- 5 Non-Knowledge and the Symbolic Mode: Nikolai Khomeriki's A Tale About Darkness (2009) -- 6 The World and the Event: Kirill Serebrennikov's St George's Day (2008) -- 7 A Plea for the Dead (Self): Renata Litvinova's Goddess: How I Fell in Love (2004) -- 8 Body in Crisis and Posthumous Subjectivity: Igor' Voloshin's Nirvana (2008) -- 9 The Difficulty of Being Dead: Aleksandr Veledinskii's Alive (2006) -- 10 Intentionality and Modelled Subjectivities: Aleksei Fedorchenko's Silent Souls (2010) -- 11 Abandoned Being: Mikhail Kalatozishvili's The Wild Field (2008) -- 12 Amplifications of Subjectivity: Aleksandr Zel'dovich's The Target (2010) -- Filmography -- Bibliography -- Index