Правила обращения с царями: частная жизнь монаршей семьи как предмет общественной дискуссии и исторической рефлексии (на примере сериалов о династии Романовых)
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
In the article the analysis of the situation which developed in Russia at the beginning of the XX century and attempts of the imperial power to prevent the approaching catastrophe which were connected with the realization of the idea of representation of the people is given. The attitude of the last Russian emperor to the idea of formation of representation of the people is shown.
The article concerns the problem of the Russian absolutist monarchy of the XVIII - the beginning of XX-th centuries in a comparative perspective. The social function of absolutism consisted in national integration, cultural unification and social transformation of traditional society by using of legal and coercive measures. The crucial problem is the changing role of the bureaucracy which could be the main protagonist of reforms or, just the opposite – its main opponent. From this point of view the author summarizes positive and negative aspects of absolutist reforms making outlook on the comparative experience of other absolutist empires of Europe and Asia.
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.
Based on the works by M. N. Katkov, L. A. Tikhomirov, P. E. Kazansky, the representatives of the conservative political and legal thought in Russia at the turn of the XX century, the article provides a comprehensive overview of their ideas on personal freedom and the role of the state in its realization, balance between rights and duties regarded as elements of legal status of a person. The article challenges a common stereotype about conservative thinkers ignoring the concept of personal freedom. On the contrary, the author argues that the problem of personal freedom was regarded in relation with adjustment of the principles of the absolute supremacy with the tendencies of modernization. The liberal ideas on incompatibility of personal freedom with the state were opposed by the conservative thesis on non-antagonism of personal freedom to monarchy which is regarded as a safeguard of modernization. Still the conservative ideas on universal freedom leading to personal oppression proved to be fatidic.