Postcommunist Film - Russia, Eastern Europe and World Culture: Moving Images of Postcommunism (Routledge Contemporary Russia and Eastern Europe Series)

A post-communist condition has arisen from the fall of the Berlin Wall and later the Soviet Empire: this book looks at how this condition has manifested itself globally in the production of post-communist film. It argues post-communism is a shared experience on a geopolitical level, unlimited by national state borders, and examines post-communist cross culturalism and global totalitarianism within film. The book examines different national cinemas and dissimilar cinematic modes - from Russian blockbuster cinema to Chinese independent cinema; from Serbian city films to revolutionary films of Mo.;Front Cover; Postcommunist Film -- Russia, Eastern Europe and World Culture; Copyright Page; Contents; Figures; Foreword; Acknowledgements; Notes on contributors; Introduction: Lars Kristensen; Part l: Cultural strategies, industry and reception; 1. National identity in post-9/11 transnational cinema: Jasmijn Van Gorp; 2. Baltic cinema: Zoe Aiano; 3. Belgrade as New York: Vlastimir Sudar; 4. 'Haven't you heard of internationalism?': Ros Gray; 5. The remains of socialist realism: Lars Kristensen; 6. Spotting the eagle on Anglophone turf: Bruce Williams; Part ll: People, place and nation. Introduction / Lars Lyngsgaard Fjord Kristensen -- Cultural Strategies, Industry And Reception. The Russian Postcommunist Blockbuster: Fyodor Bondarchuk's 9th Company / Jasmijn Van Gorp -- Baltic Cinema: Between National And Transnational Strategies / Zoe Aiano -- Cultural Aspirations And The Voluntary Americanisation Of Serbian Cinema / Vlastimir Sudar -- Haven't You Heard Of Internationalism? Communist Cinema In Mozambique / Rosalind Gray -- The Remains Of Socialist Realism: Cyclo And Beijing Bicycle / Lars Lyngsgaard Fjord Kristensen -- Spotting The Eagle On Anglophone Turf: Postcommunist Reception And Albanian Cinema / Bruce Williams -- People, Place And Nation. Demolish Or Love: Representations Of Socialist Leftover In Postcommunist Polish Cinema / Ewa Mazierska -- Treading New Paths: Czech And German Postcommunist Road Movies / Sune Beckman Pedersen -- The Crime That Changed Serbia: The Belgrade Ghetto Film / Nevena Dakovic -- Projected Nation And Projected Self: Atom Egoyan's Calendar / Yun-hua Chen -- Truancy, Or Thought From The Provinces: On Jia Zhangke's Platform / Yün Peng -- Representations Of Former Ussr Identities In Turkish Cinema / Serazer Pekerman. Edited By Lars Lyngsgaard Fjord Kristensen. Includes Bibliographical References And Index. Front Cover 1 Postcommunist Film – Russia, Eastern Europe and World Culture 5 Copyright Page 6 Contents 7 Figures 9 Foreword 10 Acknowledgements 13 Notes on contributors 14 Introduction: Lars Kristensen 17 Part l: Cultural strategies, industry and reception 27 1. National identity in post-9/11 transnational cinema: Jasmijn Van Gorp 28 2. Baltic cinema: Zoe Aiano 39 3. Belgrade as New York: Vlastimir Sudar 50 4. ‘Haven’t you heard of internationalism?’: Ros Gray 68 5. The remains of socialist realism: Lars Kristensen 90 6. Spotting the eagle on Anglophone turf: Bruce Williams 104 Part ll: People, place and nation 120 7. Demolish, preserve or beautify: Ewa Mazierska 121 8. Treading new paths: Sune Bechmann Pedersen 135 9. The crime that changed Serbia: Nevena Daković 148 10. Projected nation and projected self: Yun-Hua Chen 157 11. Truancy, or thought from the provinces: Yün Peng 168 12. Representations of former USSR and Eastern European identity in Turkish cinema: Serazer Pekerman 185 References 197 Index 208 "A post-communist condition has arisen from the fall of the Berlin Wall and later the Soviet Empire: this book looks at how this condition has manifested itself globally in the production of post-communist film. It argues post-communism is a shared experience on a geopolitical level, unlimited by national state borders, and examines post-communist cross culturalism and global totalitarianism within film. The book examines different national cinemas and dissimilar cinematic modes - from Russian blockbuster cinema to Chinese independent cinema; from Serbian city films to revolutionary films of Mozambique - all formulated as within the postcommunist condition. It considers the postcommunist film in terms of transnational and World cinema. It covers a wide range of films 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"--OCLC