Studies in Russian and Soviet Cinema最新文献

{"title":"How the Soviet Jew Was Made","authors":"Stephen M. Norris","doi":"10.1080/17503132.2024.2302265","DOIUrl":"https://doi.org/10.1080/17503132.2024.2302265","url":null,"abstract":"Published in Studies in Russian and Soviet Cinema (Ahead of Print, 2024)","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139414157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Inside the belly of the whale’: epistemology and aisthesis in the work of Aleksei German","authors":"Livan Garcia-Duquesne","doi":"10.1080/17503132.2023.2300877","DOIUrl":"https://doi.org/10.1080/17503132.2023.2300877","url":null,"abstract":"Considering the relative dearth of English-language scholarship on Aleksei Iu. German’s work, this essay attempts to provide a totalising account of German’s filmography, elaborating on the themes ...","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139414181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A baby to save their marriage:\u0000 Little Alexander\u0000 (1981) as USSR-GDR ‘family therapy’ by way of historical wish fulfilment","authors":"Anastasia Kostetskaya","doi":"10.1080/17503132.2023.2300878","DOIUrl":"https://doi.org/10.1080/17503132.2023.2300878","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139442577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Globalising the steppe: environment and identity in Ermek Tursunov’s Tengrist parables","authors":"Elena Monastireva-Ansdell","doi":"10.1080/17503132.2023.2298050","DOIUrl":"https://doi.org/10.1080/17503132.2023.2298050","url":null,"abstract":"Kazakhstani cinematic discourse on the environment has evolved from prioritising pressing nation-building and geopolitical objectives in the immediate post-independence era to proposing alternative...","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139376345","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dreaming of space: a premonition of Ernest Hemingway","authors":"Frederick H. White","doi":"10.1080/17503132.2023.2291181","DOIUrl":"https://doi.org/10.1080/17503132.2023.2291181","url":null,"abstract":"This article concentrates on the cultural mythology of Ernest Hemingway implicitly inscribed into Aleksei Uchitel’ and Aleksandr Mindadze’s Dreaming of Space (2005). This film offers a presentiment...","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138687928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Queer women of Kantemir Balagov: subjectivities in extreme contexts","authors":"Vlad Strukov","doi":"10.1080/17503132.2023.2251311","DOIUrl":"https://doi.org/10.1080/17503132.2023.2251311","url":null,"abstract":"ABSTRACTThe discussion focuses on two films – Closeness (2017) and Beanpole (2019) – by Kantemir Balagov, and is concerned with interrogating the possibilities of queer-crip dynamic in contemporary Russian-language cinema. I argue that the queer-crip dynamic allows the film director to stage a critique of ableism and heteronormativity as part of the examination of power dynamics in Soviet and post-Soviet contexts. Balagov demonstrates that the heteronormative, cis-gender, able-bodied, white person of mainstream cultural identity dominates the discourse by placing oneself in charge of power relations. Balagov’s self-criticality permits a complex understanding of queer women as powerful individuals forming relationships through own agency. In his oeuvre, crip-queerness emerges in extreme contexts encompassing a range of tropes such as claustrophobia, punishment and strangulation, which are associated with sexual practices, on the one hand, and on the other, with the protest of the queer body against repressive social regimes. The discussion advances debates about crip-queerness in world cinemas by conceptualising the notions of queerness and extreme contexts, that is, contexts characterised by the extensive and intolerable magnitude of experience and its physical and emotional effects on individuals.KEYWORDS: Kantemir Balagovqueer/cripsexualityextreme contextviolenceNorth Caucasus AcknowledgementsI thank Olga Andreevskikh and Katia Suverina for feedback on the first draft of this article.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. For reviews of Balagov’s films see Ezerova (Citation2018) and Kaganovsky (Citation2020).2. It includes short films that he made at the start of his career and most recently, unfinished work on the television series The Last of Us (HBO, 2023, multiple directors) (Kit Citation2021).3. Moscow-based film studios and cultural institutions function in the same way, that is, by exercising hegemonic discursive power over other centres of cultural production.4. An example of ethnic othering of film culture of the RF can be found in McGinity-Peebles (Citation2022).5. According to the scholar, the chief aim of this scholarly approach is critiquing accounts of global queering in terms of the spread of Western, especially US, sexual and gender cultures (Jackson Citation2009, 15).6. Research in this article does not focus on violence against queer subjects (e.g., Kondakov Citation2022), but on how queer subjects sustain themselves in regimes of violence.7. For a discussion of body movement and gestures in Balagov’s films, see Stepanova (Citation2023); for a discussion of queer meaning of gestures in Russian cinema, see Strukov (Citation2016b).8. See, for example, Strukov and Hudspith (Citation2014), where in film representations of the Caucasus the dominant narrative of captivity is inverted thanks to the queer optic.9. For example, in Andrei Zviagintsev’s The Return (Vozvrashchenie, 2003","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135968940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction: ‘Different (Everyone is So)’: conceptualisations of Russian and Russophone queer cinema in the twenty-first century","authors":"Vlad Strukov","doi":"10.1080/17503132.2023.2252702","DOIUrl":"https://doi.org/10.1080/17503132.2023.2252702","url":null,"abstract":"ABSTRACT In the introduction I conceptualise cinematic narratives of difference and queerness, and the ways in which the queer lens has been used in contemporary Russian and Russophone cinema to interrogate cultural politics, identity and belonging. I also demonstrate how a queer optic facilitates discussions about the complexity of the terms ‘Russian’ and ‘Russophone’ vis-à-vis other cultural identities and queer subjectivities, emphasising the transnational, poly-cultural nature of Russian culture, with queer individuals playing an important role in de-colonising ‘Russia’. In particular, I discuss spaces and geographies of queer experience in relation to new centres and practices of filmmaking in the RF. I showcase the diversity of queer cinematic expressions, pointing at the ways in which the canon of Russian cinema could be revised. The interdisciplinary, multi-scalar analysis interrogates a range of discourses – academic, film criticism, media and politics – and phenomena such as cultural industry and institutions, cultural politics, sociology of queerness, and technology. Making use of a number of examples, I put forward a vision for a theory of contemporary Russian and Russophone queer cinema which expands the knowledge of (world) queer cinemas and (queer) world cinemas.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44921566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The queer parable and the gender normativity of ‘traditional values’: Aleksei Chupov and Natal’ia Merkulova’s The Man Who Surprised Everyone (2018)","authors":"Katerina Suverina","doi":"10.1080/17503132.2023.2250166","DOIUrl":"https://doi.org/10.1080/17503132.2023.2250166","url":null,"abstract":"ABSTRACT The article examines how the ideology of ‘traditional values’ and related ‘special’ gender normativity are represented in contemporary Russophone cinema. By analysing the film-parable The Man Who Surprised Everyone (2018), directed by Aleksei Chupov and Natal’ia Merkulova, I first demonstrate how the directors work with the complexity of existing gender politics by visualising the performative functions of the body as gendered appearance through the parable framework. Second, I show how Russia’s official public discourse about sexuality – dominated by the rhetoric of ‘traditional values’ – is challenged through the film narrative and the main character, the gamekeeper Egor, who lives in a small Siberian village and decides to wear female clothes and makeup in order to defeat cancer. Made with financial support from the Russian Federation’s Ministry of Culture and in the context of intensified conservative politics of gender and sexuality, the film was largely not considered in Russian-language criticism and broader audiences as related to queerness. I argue that their avoidance of the film’s queerness is a part of the ‘traditional values’ discourse, in which the Other seems not to exist, but always emerges as its inherent element.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46350683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"<b><i>Haunted dreams: fantasies of adolescence in post-</i></b><b><i>Soviet</i></b> <b><i>culture</i></b>","authors":"Laura Todd","doi":"10.1080/17503132.2023.2250167","DOIUrl":"https://doi.org/10.1080/17503132.2023.2250167","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135571298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Queering the Mainstream: Anna Melikian’s About Love (2015)","authors":"R. Morley","doi":"10.1080/17503132.2023.2245656","DOIUrl":"https://doi.org/10.1080/17503132.2023.2245656","url":null,"abstract":"ABSTRACT About Love (2015), Anna Melikian’s fourth film, is her first attempt at mainstream cinema. Mimicking the form of an almanac film, it comprises five apparently discrete but intimately interconnected short films, or novellas, all set in Moscow. Their most obvious link is the film’s central thread: a lecture about love at the Strelka Institute, attended by the protagonists of some of the novellas and delivered by one of them: an expert on the topic, played by Renata Litvinova. None of the novellas directly addresses non-heteronormative sexualities, through focussing on same-sex relationships. However, the centrality of Litvinova – arguably Russian cinema’s most prominent queer icon – introduces an unignorable note of the queer. On closer viewing, moreover, it becomes clear both that the film does depict queer identities, subjectivities and relationships and that it is queer in other ways. Drawing on various queer and feminist theoretical approaches, this article therefore argues that About Love depicts post-2013 Moscow as a place that can accommodate and celebrate queerness, demonstrating that Melikian’s representation of love challenges the ostensible narrative assumptions of heterosexual normativity and offers, as a queer counterpoint to the mainstream, a range of compelling non-normative representations of love and the self.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43010287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}