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