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
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
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.
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.
Article is dedicated to the problem of defining classical legacy in modern sociology. The nature and constitution of this process is analyzed as everyday framing practice. Some effects arising from classicalization procedures described by cases of embarrassing classicality - interpretations and reinterpretations of Erving Goffmans theoretical works. For this purpose Goffmans frame analysis is applied to itself; theory of framing helps to understand framing of the theory.