Contemporary Russian cinema: symbols of a new era
One 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 a...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Edinburgh, Scotland
Edinburgh University Press
[2016]
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| Schlagworte: | |
| Zusammenfassung: | One 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 |
| Beschreibung: | Includes bibliographical references, filmography and index |
| Beschreibung: | ix, 285 Seiten, 8 ungezählte Seiten Bildtafeln Illustrationen 25 cm |
Internformat
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| 500 | |a Includes bibliographical references, filmography and index | ||
| 505 | 8 | |a Introduction. Conceptualising the period ; Overview of the contemporary Russian film ; Crticial review of scholarship on contemporary Russian film ; Contextualising the present study ; Theorising contemporary Russian cinema -- 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) -- Conclusions | |
| 520 | |a One 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 | ||
| 648 | 7 | |a Geschichte 2001-2010 |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Motion pictures / Russia (Federation) / History / 21st century | |
| 650 | 4 | |a Motion pictures / Russia (Federation) / History and criticism | |
| 650 | 4 | |a Motion pictures / Production and direction / Russia (Federation) | |
| 650 | 4 | |a Symbolism in motion pictures | |
| 650 | 4 | |a Film | |
| 650 | 4 | |a Geschichte | |
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Datensatz im Suchindex
| _version_ | 1804176240462004224 |
|---|---|
| any_adam_object | |
| author | Strukov, Vladimir Vjačeslavovič 1973- |
| author_GND | (DE-588)142577502 |
| author_facet | Strukov, Vladimir Vjačeslavovič 1973- |
| author_role | aut |
| author_sort | Strukov, Vladimir Vjačeslavovič 1973- |
| author_variant | v v s vv vvs |
| building | Verbundindex |
| bvnumber | BV043567028 |
| classification_rvk | KK 1035 AP 44957 |
| contents | Introduction. Conceptualising the period ; Overview of the contemporary Russian film ; Crticial review of scholarship on contemporary Russian film ; Contextualising the present study ; Theorising contemporary Russian cinema -- 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) -- Conclusions |
| ctrlnum | (OCoLC)951781901 (DE-599)BVBBV043567028 |
| discipline | Allgemeines Slavistik |
| era | Geschichte 2001-2010 gnd |
| era_facet | Geschichte 2001-2010 |
| format | Book |
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| spelling | Strukov, Vladimir Vjačeslavovič 1973- Verfasser (DE-588)142577502 aut Contemporary Russian cinema symbols of a new era Vlad Strukov Edinburgh, Scotland Edinburgh University Press [2016] © 2016 ix, 285 Seiten, 8 ungezählte Seiten Bildtafeln Illustrationen 25 cm txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references, filmography and index Introduction. Conceptualising the period ; Overview of the contemporary Russian film ; Crticial review of scholarship on contemporary Russian film ; Contextualising the present study ; Theorising contemporary Russian cinema -- 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) -- Conclusions One 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 Geschichte 2001-2010 gnd rswk-swf Motion pictures / Russia (Federation) / History / 21st century Motion pictures / Russia (Federation) / History and criticism Motion pictures / Production and direction / Russia (Federation) Symbolism in motion pictures Film Geschichte Film (DE-588)4017102-4 gnd rswk-swf Russland (DE-588)4076899-5 gnd rswk-swf Russland (DE-588)4076899-5 g Film (DE-588)4017102-4 s Geschichte 2001-2010 z DE-604 Erscheint auch als Online-Ausgabe, PDF 978-1-4744-0765-6 Erscheint auch als Online-Ausgabe, EPUB 978-1-4744-0766-3 |
| spellingShingle | Strukov, Vladimir Vjačeslavovič 1973- Contemporary Russian cinema symbols of a new era Introduction. Conceptualising the period ; Overview of the contemporary Russian film ; Crticial review of scholarship on contemporary Russian film ; Contextualising the present study ; Theorising contemporary Russian cinema -- 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) -- Conclusions Motion pictures / Russia (Federation) / History / 21st century Motion pictures / Russia (Federation) / History and criticism Motion pictures / Production and direction / Russia (Federation) Symbolism in motion pictures Film Geschichte Film (DE-588)4017102-4 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4076899-5 |
| title | Contemporary Russian cinema symbols of a new era |
| title_auth | Contemporary Russian cinema symbols of a new era |
| title_exact_search | Contemporary Russian cinema symbols of a new era |
| title_full | Contemporary Russian cinema symbols of a new era Vlad Strukov |
| title_fullStr | Contemporary Russian cinema symbols of a new era Vlad Strukov |
| title_full_unstemmed | Contemporary Russian cinema symbols of a new era Vlad Strukov |
| title_short | Contemporary Russian cinema |
| title_sort | contemporary russian cinema symbols of a new era |
| title_sub | symbols of a new era |
| topic | Motion pictures / Russia (Federation) / History / 21st century Motion pictures / Russia (Federation) / History and criticism Motion pictures / Production and direction / Russia (Federation) Symbolism in motion pictures Film Geschichte Film (DE-588)4017102-4 gnd |
| topic_facet | Motion pictures / Russia (Federation) / History / 21st century Motion pictures / Russia (Federation) / History and criticism Motion pictures / Production and direction / Russia (Federation) Symbolism in motion pictures Film Geschichte Russland |
| work_keys_str_mv | AT strukovvladimirvjaceslavovic contemporaryrussiancinemasymbolsofanewera |