Ruptures and Continuities in Soviet/Russian Cinema

Birgit Beumers is Professor of Film Studies at Aberystwyth University. Eugénie Zvonkine is an Associate Professor of Cinema at the University of Paris 8.

Acknowledgments & Note on Transliteration

Contributor Details

List of Illustrations

Introduction

Re-construction, or perestroika: re-visioning, re-making, re-framing

Birgit Beumers and Eugénie Zvonkine

Part I. Styles

1 Perestroika and Parallel Cinema

2 Soviet Comedies for ‘Our Time’: Cinematic Remaking in 21st-Century Russia

3 The Journey of a Film: Aleksei Gherman’s Hard to Be a God, 1968–2013

4 ‘Waiting for Change’: Sergei Solov'ev and the Dreams of the Young Generation

Part II. Characters

5 The Prostitute as Everywoman: The Role and Evolution of the Sex Worker in Russian Cinema

6 ‘Thank God We’re Not Alive’: The Rock Star in Soviet and Post-Soviet Cinema.

7 Neither Here, Nor There: The Trickster in the Cinema of Perestroika and the Early 1990s

8 ‘We’ll meet in Tahiti’: The Traveller between East and West in Russian Films of the 1990s

Part III. Genres

9 Reality Excess: Chernukha Cinema in the Late 1980s

10 A Genre in Crisis? Satirical Comedy during Perestroika

11 Articulating Dissonance between Man and the Cosmos: Soviet Scientific Fantasy in the 1980s and its Legacy

12 Revising History, Remaking Heroes: Soviet-Russian Cinema and the Civil War