Post-Communist Film: Russia, Eastern Europe And World Culture
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Description:
A post-communist condition has arisen from the fall of the Berlin Wall and later the Soviet Empire, and this book looks at how this condition has manifested itself globally on the production of post-communist film. Seeking to describe how post-communism is a shared experience on a geopolitical level and not limited by the borders of national states, it examines post-communist ...
A post-communist condition has arisen from the fall of the Berlin Wall and later the Soviet Empire, and this book looks at how this condition has manifested itself globally on the production of post-communist film. Seeking to describe how post-communism is a shared experience on a geopolitical level and not limited by the borders of national states, it examines post-communist ...
Description:
A post-communist condition has arisen from the fall of the Berlin Wall and later the Soviet Empire, and this book looks at how this condition has manifested itself globally on the production of post-communist film. Seeking to describe how post-communism is a shared experience on a geopolitical level and not limited by the borders of national states, it examines post-communist cross culturalism and global totalitarianism within film. Chapters focus on a wide range of films in relation to the post-communist era, from small and independent filmmaking to mainstream, popular cinema, and explains post-communist signifiers as manifested in visual culture both inside and outside former, and current, communist countries.
Table of Contents:
Preface Dina Iordanova Introduction Lars Kristensen Part 1: History/Genre 1. Demolish or Love: Representation of Socialist Leftover in Postcommunist Polish Cinema Ewa Mazierska 2. Baltic Cinema and Epic History on Film Zoe Aiano 3. The Russian Postcommunist Blockbuster: Fyodor Bondarchuk's 9th Company (2005) Jasmijn Van Gorp 4. Treading New Paths: Czech and German Postcommunist Road Movies Sune Beckman Pedersen 5. Cultural Aspirations and the Voluntary Americanisation of Serbian Cinema Vlastimir Sudar 6. Cross-Cultural Genre Connections in South-East Europe Marian Tutui Part 2: Representation/Reception 7. Representation of Former USSR Identities in Turkish Cinema Serazer Pekerman 8. Projected Nation and Projected Self: Atom Egoyan's Calendar Yun-Hua Chen 9. The Crime that Changed Serbia: The Belgrade Ghetto Film Nevena Dakovic 10. The Remains of Socialist Realism: Cyclo (1995) and Beijing Bicycle (2001) Lars Kristensen 11. The Eagle Spreads Its Wings: International Reception of the New Albanian Cinema Bruce Williams 12. Looking at Sweden Today: The Exhibition 'After Eisenstein' Fiona Bjorling
Author Biography:
Lars Kristensen completed his PhD in Film Studies at the University of St Andrews, UK.
A post-communist condition has arisen from the fall of the Berlin Wall and later the Soviet Empire, and this book looks at how this condition has manifested itself globally on the production of post-communist film. Seeking to describe how post-communism is a shared experience on a geopolitical level and not limited by the borders of national states, it examines post-communist cross culturalism and global totalitarianism within film. Chapters focus on a wide range of films in relation to the post-communist era, from small and independent filmmaking to mainstream, popular cinema, and explains post-communist signifiers as manifested in visual culture both inside and outside former, and current, communist countries.
Table of Contents:
Preface Dina Iordanova Introduction Lars Kristensen Part 1: History/Genre 1. Demolish or Love: Representation of Socialist Leftover in Postcommunist Polish Cinema Ewa Mazierska 2. Baltic Cinema and Epic History on Film Zoe Aiano 3. The Russian Postcommunist Blockbuster: Fyodor Bondarchuk's 9th Company (2005) Jasmijn Van Gorp 4. Treading New Paths: Czech and German Postcommunist Road Movies Sune Beckman Pedersen 5. Cultural Aspirations and the Voluntary Americanisation of Serbian Cinema Vlastimir Sudar 6. Cross-Cultural Genre Connections in South-East Europe Marian Tutui Part 2: Representation/Reception 7. Representation of Former USSR Identities in Turkish Cinema Serazer Pekerman 8. Projected Nation and Projected Self: Atom Egoyan's Calendar Yun-Hua Chen 9. The Crime that Changed Serbia: The Belgrade Ghetto Film Nevena Dakovic 10. The Remains of Socialist Realism: Cyclo (1995) and Beijing Bicycle (2001) Lars Kristensen 11. The Eagle Spreads Its Wings: International Reception of the New Albanian Cinema Bruce Williams 12. Looking at Sweden Today: The Exhibition 'After Eisenstein' Fiona Bjorling
Author Biography:
Lars Kristensen completed his PhD in Film Studies at the University of St Andrews, UK.
| Autor | Kristensen, Lars Lyngsgaard Fjord |
|---|---|
| Ilmumisaeg | 2011 |
| Kirjastus | Taylor & Francis Ltd |
| Köide | Kõvakaaneline |
| Bestseller | Ei |
| Lehekülgede arv | 224 |
| Pikkus | 234 |
| Laius | 234 |
| Keel | English |
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