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It Will Be Fun and Terrifying
The National Bolshevik Party, founded in the mid-1990s by Eduard Limonov and Aleksandr Dugin, began as an attempt to combine radically different ideologies. In the years that followed, Limonov, Dugin, and the movements they led underwent dramatic shifts. The two leaders eventually became political adversaries, with Dugin and his organizations strongly supporting Putin’s regime while Limonov and his groups became part of the liberal opposition. To illuminate the role of these right-wing ideas in contemporary Russian society, Fabrizio Fenghi examines the public pronouncements and aesthetics of this influential movement. He analyzes a diverse range of media, including novels, art exhibitions, performances, seminars, punk rock concerts, and even protest actions. His interviews with key figures reveal an attempt to create an alternative intellectual class, or a “counter-intelligensia.” This volume shows how certain forms of art can transform into political action through the creation of new languages, institutions, and modes of collective participation.
A Companion to Russian 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
Soviet Art House
Drawing on documents from archives in St Petersburg and Moscow, the analysis portrays film production "in the round" and shows that the term "censorship" is less appropriate than the description preferred in the Soviet film industry itself, "control," which referred to a no less exigent but far more complex and sophisticated process. The book opens with four framing chapters that examine the overall context in which films were produced. The two opening chapters trace the various crises that beset film production between 1961 and 1970 (Chapter 1) and 1970 and 1985 (Chapter 2). These are followed by a chapter on the working life of the studio and particularly the technical aspects of production (Chapter 3), and a chapter on the studio aesthetic (Chapter 4). The second part of the book comprises close analyses of fifteen films that are particularly typical of the studio's production and which had especial impact within the studio and beyond. .
She Animates
She Animates examines the work of twelve female animation directors in the Soviet Union and Russia, who have long been overlooked by film scholars and historians. Our approach examines these directors within history, culture, and industrial practice in animation. In addition to making a case for including these women and their work in the annals of film and animation history, this volume also makes an argument for why their work should be considered part of the tradition of women’s cinema. We offer textual analysis that focuses on the changing attitudes towards both the woman question and feminism by examining the films in light of the emergence and evolution of a Soviet female subjectivity that still informs women’s cinema in Russia today.
The Voice of Technology
1. This book presents the untold story of the role the emergence of cinematic sound had on Soviet politics and culture. The author contextualizes media technologies in the midst of the political and cultural environment of the early Soviet era. 2. The author is a returning IUP author who is extremely active in both Slavic studies and film and media studies. 3. This book with have a market among both film and Russian/East European studies scholars and is a strong contribution to IUPs growing international film history lists.
Soviet Science Fiction Cinema and the Space Age
This book interrogates the relations between nostalgias of today and past utopias in the context of the space age of the 20th century and its cinematic representations in the USSR and in post-Soviet Russia. Once an enthusiastic projection, then a promising and uncanny present, and eventually an assemblage of nostalgic signifiers, in the history of world cinema, this space age has been linked primarily to the genre of science fiction. Here, aspects of the space age such as humanity’s imminent expansion to space, interplanetary travel, contact with extraterrestrial intelligence, and intergalactic governance and economy were both celebrated and critically interrogated as cosmopolitan ideals a...
Cinema and the Environment in Eastern Europe
The annexation of Eastern Europe to the Soviet sphere after World War II dramatically reshaped popular understandings of the natural environment. With an eco-critical approach, Cinema and the Environment in Eastern Europe breaks new ground in documenting how filmmakers increasingly saw cinema as a tool to critique the social and environmental damage of large-scale projects from socialist regimes and newly forming capitalist presences. New and established scholars with backgrounds across Europe, the United States, and Australia come together to reflect on how the cultural sphere has, and can still, play a role in redefining our relationship to nature.
Russian TV Series in the Era of Transition
Russian TV Series in the Era of Transition examines contemporary Russian television genres in the age of transition from broadcast to post-broadcast television. Focusing on critical debates and the most significant TV series of the past two decades, the volume’s contributors—the leading US and European scholars studying Russian television, as well as the leading Russian TV producers and directors—focus on three major issues: Russian television’s transition to digital post-broadcast economy, which redefined the media environment; Russian television’s integration into global television markets and their genre systems; and major changes in the representation of gender and sexuality on Russian television.
Incomplete
This field-defining collection establishes unfinished film projects--abandoned, interrupted, lost, or open-ended--as rich and underappreciated resources for feminist film and media studies. In deeply researched and creatively conceived chapters, scholars join with film practitioners in approaching the unfinished film as an ideal site for revealing the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders. Incomplete recovers projects and practices marginalized in film industries and scholarship alike, while also showing how feminist filmmakers have cultivated incompletion as an aesthetic strategy. Objects of loss and of possibility, incomplete films raise profound historiographical and ethical questions about the always unfinished project of film history, film spectatorship, and film studies.
Militarizing Outer Space
Militarizing Outer Space explores the dystopian and destructive dimensions of the Space Age and challenges conventional narratives of a bipolar Cold War rivalry. Concentrating on weapons, warfare and violence, this provocative volume examines real and imagined endeavors of arming the skies and conquering the heavens. The third and final volume in the groundbreaking European Astroculture trilogy, Militarizing Outer Space zooms in on the interplay between security, technopolitics and knowledge from the 1920s through the 1980s. Often hailed as the site of heavenly utopias and otherworldly salvation, outer space transformed from a promised sanctuary to a present threat, where the battles of the future were to be waged. Astroculture proved instrumental in fathoming forms and functions of warfare’s futures past, both on earth and in space. The allure of dominating outer space, the book shows, was neither limited to the early twenty-first century nor to current American space force rhetorics.
