Titlebook: Russia and its Other(s) on Film; Screening Intercultu Stephen Hutchings (Professor of Russian Studies) Book 2008 Palgrave Macmillan, a divi

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Cinema Thinking the Unthinkable: Cold War Film and the Non-Reality of Russiasince in my material — which for lack of space I am restricting to two popular films of the Cold War era — there was no Russia to be found, but instead Russia’s non-being, a shadow, a ghost, a negative presence. I believe that it is precisely from this cinematically produced absence that post-Cold W

蒙太奇

Bilingualism, Miscegenation and Incest in , and ,: Russia’s Place in the French Postcolonial Imagina and the declaration of a global ‘War on Terror’, it is safe to say that the West’s long-time Cold War adversary, the Soviet Union, has now been finally supplanted by Al Qaeda and its associates. Much has been made of the political vacuum which followed the collapse of the ‘Evil Empire’ and the iden

敵意

Through the ‘Other’ Lens? Russians on the Global Screenin its ability to project images of national identity onto screens at home and abroad. In many ways film-makers were following Mikhalkov’s much-cited call for cinema to create a national myth; as Mikhalkov argued in his speech to the Film-makers’ Congress in May 1998, ‘America has forced the world t

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Russian Marital Migrants in Contemporary Filmnd reasonable to know about this culture.. The position from which these regimes are established is of primary importance: know-ledge positioned outside Russia, within a national framework that has experienced instances of military, religious and/or economic conflict with Russia, is likely to differ

整潔

Angel, Avenger or Trickster? The ‘Second-World Man’ as the Other and the Selfnial discourse.. Even the expression ‘Second World’ seemed to expire with the end of the Cold War. Nevertheless, a culturally distinct Second World did not disappear with the end of communism, although it obviously changed, becoming inscribed in the global context, yet continuing to produce new, now

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Conclusion juxtaposition with one another, represent a microcosm of the volume as a whole. In order to confirm the significance of that juxtaposition, and thus to bring the volume to a close, it would be helpful to remind ourselves how the juxtaposition was accomplished via a brief recapitula-tion of the argu

鋼筆尖

The New American Other in Post-Soviet Russian Cinemain 1990, domestic annual production quickly plummeted into the double digits, where it lingers still. The low point was 1996, when 28 Russian features were produced. Annual numbers for the first six years of the new millennium were in the 60s.

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Book 2008ussia have shaped the identities of many western cultures. No longer providing the ‘Evil Empire‘ of 20th American popular consciousness, images of Russia have more recently bifurcated along two streams: that of the impoverished refugee and that of the sinister mafia gang.Focusing on film as an engin

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