The Militarization of the Past in Russian Popular Historical Films
This paper is devoted to the problem of the militarization of culture in modern Russia. The two key scientific fields are public history and the politics of memory. Firstly, based on the official documents and statements of authorities, the paper will characterize the relations between the state and Russian cinema as well as the role of history and historical films in the contemporary politics of memory. Secondly, after identifying the role of popular cinema in Russia, the paper will explore the characteristics of historical periods in popular films, based on the hypothesis that the Russian past is mostly represented around or inside war, while the criticism of war is becoming less and less important for popular cinema
The present chapter is dealt to the main steps of becoming and exisiting of Russian film in 1900-1990s.
The paper describes how the market meets culture in modern Russian cinema through the technologies of product placement. Interpreting data of the expert interviews and using content analysis of modern Russian blockbusters, the author reveals peculiarities of product placement in contemporary Russian cinema. Commercialisation of domestic film production industry is also analysed.
product placement; российский кинематограф; реклама; коммерциализация культуры.
Jeffrey Olick is one of the most prominent researchers in the field of memory studies nowadays. Yet, none of his works have been translated into Russian. “Figurations of memory” as the author himself states is one of his most important texts. It is dedicated to the process-relational methodology. J. Olick criticizes traditional approaches as they see collective memory as a static thing, whereas it should be studied as a process. On the other hand author criticizes a mainstream understanding of memory as a unified object. Instead he suggests that there are multiple mnemonic forms and practices that should be investigated. As a result he presents a new methodology that is based on analysis of the four essential aspects of memory work: field (mostly in a sense in which Bourdieu used it), medium, genre and profile. This method of analysis leads to emergence of additional empirical categories, such as official, vernacular, public, and private memory; affective, aesthetic-expressive, instrumental-cognitive, and political-moral media; the normal legitimation, German traditions, German victimhood, and German guilt genres; and the reliable, moral, and normal profiles. Though in the end the model may seem rather complex, author claims that it is by far more clear and precise that other models of research of collective memory. More than that, he claims that this methodology can be universal for studying a large number of sociological topics.
This book examines shifts in the meaning of montage in different historical situations and in various artistic media, including literature, cinema, theater, and visual arts. Its scope includes literature and art of Soviet Russia (both official and unofficial), Germany, France, and the United States from 1910 to the 2010s. While this book does not provide a cohesive historical sketch, it delivers comparative studies on artists whose works problematize common understandings of the avant-garde in art history.
This study argues that different types of artistic montage correspond to different conceptions of history, dividing the history of montage aesthetics and techniques into three periods: (1) constructing, (2) post-utopian, and (3) historicizing or analytic montage. This book intends to demonstrate how the revolutionary montage aesthetics of the 1920s was reinterpreted and adapted for critical analysis of utopian consciousness in unofficial literature and art of the 1960s and 1970s. This change became possible because unofficial art, unlike Soviet socialist realism, was connected with the experiments of European and American radical modernism and postmodernism.
Public history (PH) as a concept and movement emerged in the United States in the 1970s. It has become an academic field that provides opportunities for the representatives of the Humanities, academic community and the museum staff to establish communication ties. With the help of PH, historians became able to communicate with the society and, as a result, came into the public sphere. Public history is a relatively new area of knowledge in Russia - it appeared in 2012–2013 with the emergence of the first Master's program in the Moscow School of Social and Economic Sciences and, in what follows, conferences and round tables. The article discusses the development of public history in Russia. It is based on a review and analysis of academic literature and is aimed at understanding and exploring this new academic field. After analyzing the academic discourse on the current problems of historical science and the role of public history in the process of developing new ways of communication, the author comes to the following conclusions. The contemporary academic community is facing the problems of understanding how the audience showing today an increasing interest in history looks like. Besides, the field struggles with the problems of the “academic vs popular” languages and difficulties with the translation of historians’ texts. There is also a lack of direct communication between those creating a variety of historical products, such as teachers, employees of museums, filmmakers, media, etc., on the one hand, and historians, on the other hand. The result of the analysis, along with the post-Soviet “hereditary” problems of confidence in the subject of history, allows us to speak about the crisis of professional historical community as an expert in public sphere.
A Companion to Russian Cinema provides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies. The most up-to-date and thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglected
Scientific and educational project "Culture of Reconiliation: New historical consciousness in Ukraine" was held in autumn 2015 with the support of the Ministry of Foreign Affairs of Germany and the society "Bochum - Donetsk" (Germany). The project brought together the experts studying the problems of historical memory and the collisions of historical narratives, problems of healing the wounds of the past. How can we exclude the exploration of historical knowledge as a instrument of war propaganda? How can we turn history into space of coexistence and the retention of the human dignity. Historians, philosophers, sociologists and culture experts from several European states combined their efforts in this book.
The book is aimed at the audience of specialists in philosophy of history and all those who are interested in the nature of past and historical memory.
The article deals with the processes of building the information society and security in the CIS in accordance with modern conditions. The main objective is to review existing mechanisms for the formation of a common information space in the Eurasian region, regarded as one of the essential aspects of international integration. The theoretical significance of the work is to determine the main controls of the regional information infrastructure, improved by the development of communication features in a rapid process.The practical component consists in determining the future policies of the region under consideration in building the information society. The study authors used historical-descriptive approach and factual analysis of events having to do with drawing the contours of today's global information society in the regional refraction.
The main result is the fact that the development of information and communication technologies, and network resources leads to increased threats of destabilization of the socio-political situation in view of the emergence of multiple centers that generate the ideological and psychological background. Keeping focused information policy can not be conceived without the collective participation of States in the first place, members of the group leaders of integration - Russia, Belarus and Kazakhstan. Currently, only produced a comprehensive approach to security in the information field in the Eurasian region, but the events in the world, largely thanks to modern technology, make the search for an exit strategy with a much higher speed. The article contributes to the science of international relations, engaging in interdisciplinary thinking that is associated with a transition period in the development of society. A study of current conditions in their relation to the current socio-political patterns of the authors leads to conclusions about the need for cooperation with the network centers of power in the modern information environment, the formation of alternative models of networking, especially in innovation and scientific and technical areas of information policy, and expanding the integration of the field in this region on the information content.