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Russian Film in Contemporary Context

Ed. by Condee, Nancy / Prokhorov, Alexander / Prokhorova, Elena

Series:Film and Media Studies

    eBook (PDF)
    Publication Date:
    To be published:
    April 2020


    Aims and Scope

    Cinemasaurusexamines ninety recent films over three decades, focusing on four issues of Russia’s transition: (1) its imperial legacy, (2) the film market and new genres, (3) the dialogue with European values and hierarchies, (4) its renegotiation with state power. Its contributors include the next generation of US-Russian cinema scholars.


    310 pages
    45 Fig.
    Cinema;film;Russia;contemporary;movies;culture;post-Soviet;Eurasian;Kinotavr;KinoKultura;art;arthouse films;independent films;documentary;criticism;political commentary;20th century film;21st century film;film festival;Dmitrii Mamuliia;Another Sky;Aleksandr Kott;The Test;genre;comedy;horror;violence in film;cinematography;Mikhalkov;Bekmambetov;Elki;Film Symposium;film production
    Cinemasaurus will interest scholars, teachers, and students of contemporary cultural politics, especially those in media studies, Russian and Eurasian culture, and regional history. Its contributions by the next generation of cinema scholars integrate specific film tendencies into contemporary social and political events, including film-industry trends. Accessible to specialists and non-specialists.

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    Nancy Condee is Director of University of Pittsburgh’s Russian, East European, and Eurasian Studies Center, a Title VI Center.

    Alexander Prokhorov teaches at Russian and Film Studies Programs at The University of William & Mary.

    Elena Prokhorova teaches at Russian and Film Studies Programs at The University of William & Mary.


    Cinemasauruspresents in full bloom the school of Russian film studies that Nancy Condee and Vladimir Padunov have been building for almost three decades in and around the Department of Slavic Languages and Literatures of the University of Pittsburgh. This school is not limited to the alumni of this famed department; rather, it has become a magnet around which grouped several generations of Russian film scholars who share an interest in such issues as imperial memory and imperial patterns in post-Soviet film; post-Soviet cinematic genres and their transformations; deconstructions of new and old ideologies by the means of eccentricity and grotesque; the interactions between the film poetics; and the peculiarities of post-Soviet film production and distribution. This unity explains why, despite the exciting breadth of its subjects, this volume reads as a collective monograph or even as the school's extended manifesto, rather than a collection of disparate articles.” —Mark Lipovetsky, Columbia University

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