| Description |
1 online resource (ix, 285 pages) : illustrations |
| 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 |
| Summary |
Explores the symbolic mode in relation to contemporary Russian film. 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. Key Features. Offers a new perspective on contemporary film in the symbolic mode Provides 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 |
| Bibliography |
Includes filmography |
|
Includes bibliographical references (pages 264-280) and index |
| Notes |
Print version record |
| SUBJECT |
Bibel Philemonbrief gnd |
| Subject |
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.
|
|
PERFORMING ARTS -- Film & Video -- Reference.
|
|
Motion pictures
|
|
Motion pictures -- Production and direction
|
|
Symbolism in motion pictures
|
|
Russia (Federation)
|
|
Russland
|
| Genre/Form |
Electronic books
|
|
Criticism, interpretation, etc.
|
|
History
|
| Form |
Electronic book
|
| ISBN |
9781474407656 |
|
147440765X |
|
