Contemporary Russian cinema: symbols of a new era
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...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Edinburgh
Edinburgh University Press
2016
|
| Schlagworte: | |
| Online-Zugang: | BSB01 UBG01 Volltext |
| Zusammenfassung: | 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 |
| Beschreibung: | Title from publisher's bibliographic system (viewed on 29 Sep 2017) |
| Beschreibung: | 1 online resource (ix, 285 pages) |
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| 505 | 8 | |a Introduction. Conceptualising the period ; Overview of the contemporary Russian film ; Critical 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 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 | ||
| 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 | |
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Datensatz im Suchindex
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| author | Strukov, Vlad 1973- |
| author_facet | Strukov, Vlad 1973- |
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| contents | Introduction. Conceptualising the period ; Overview of the contemporary Russian film ; Critical 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 |
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| dewey-full | 791.4/3/0947 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.4/3/0947 |
| dewey-search | 791.4/3/0947 |
| dewey-sort | 3791.4 13 3947 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| format | Electronic eBook |
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| illustrated | Not Illustrated |
| indexdate | 2024-07-10T08:01:34Z |
| institution | BVB |
| language | English |
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| spelling | Strukov, Vlad 1973- Verfasser aut Contemporary Russian cinema symbols of a new era Vlad Strukov Edinburgh Edinburgh University Press 2016 1 online resource (ix, 285 pages) txt rdacontent c rdamedia cr rdacarrier Title from publisher's bibliographic system (viewed on 29 Sep 2017) Introduction. Conceptualising the period ; Overview of the contemporary Russian film ; Critical 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 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 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 Erscheint auch als Druck-Ausgabe, hardback 9781474407649 https://www.cambridge.org/core/product/identifier/9781474407656/type/BOOK Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Strukov, Vlad 1973- Contemporary Russian cinema symbols of a new era Introduction. Conceptualising the period ; Overview of the contemporary Russian film ; Critical 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 |
| 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 |
| 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 |
| url | https://www.cambridge.org/core/product/identifier/9781474407656/type/BOOK |
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