Pub Date : 2023-08-17DOI: 10.1080/17503132.2023.2246825
E. Mazierska
{"title":"Nabokov Noir: cinematic culture and the art of exile","authors":"E. Mazierska","doi":"10.1080/17503132.2023.2246825","DOIUrl":"https://doi.org/10.1080/17503132.2023.2246825","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42413055","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}
Pub Date : 2023-08-16DOI: 10.1080/17503132.2023.2246826
Marina Rojavin
{"title":"Film adaptations of Russian classics. Dialogism and authorship","authors":"Marina Rojavin","doi":"10.1080/17503132.2023.2246826","DOIUrl":"https://doi.org/10.1080/17503132.2023.2246826","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41678842","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}
Pub Date : 2023-08-11DOI: 10.1080/17503132.2023.2246824
Anthony Anemone
{"title":"Dlinnaia doroga v Kanny: Mikhail Kalatozov [The Long Road to Cannes: Mikhail Kalatozov]","authors":"Anthony Anemone","doi":"10.1080/17503132.2023.2246824","DOIUrl":"https://doi.org/10.1080/17503132.2023.2246824","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48244805","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}
Pub Date : 2023-08-08DOI: 10.1080/17503132.2023.2244334
Volha Isakava
ABSTRACT The article explores representations of drag queens in contemporary Russian film and reality television shows through an analysis of Feliks Mikhailov’s feature film Jolly Fellows (2009) and the web-based reality competition series Royal Cobras (2021) from the perspective of queer studies, namely conceptualisations of queer times and places by Jack Halberstam. The two productions, both made for mainstream Russian audiences, have been criticised at home as apolitical and derivative. The article argues that they nonetheless provide an affirmation of queer community, queer care and belonging through a configuration of queer times and places, despite the intensification of repressive politics in the Russian Federation between 2009 and 2021.
{"title":"Representations of drag queens in contemporary Russian film and web-based reality television","authors":"Volha Isakava","doi":"10.1080/17503132.2023.2244334","DOIUrl":"https://doi.org/10.1080/17503132.2023.2244334","url":null,"abstract":"ABSTRACT The article explores representations of drag queens in contemporary Russian film and reality television shows through an analysis of Feliks Mikhailov’s feature film Jolly Fellows (2009) and the web-based reality competition series Royal Cobras (2021) from the perspective of queer studies, namely conceptualisations of queer times and places by Jack Halberstam. The two productions, both made for mainstream Russian audiences, have been criticised at home as apolitical and derivative. The article argues that they nonetheless provide an affirmation of queer community, queer care and belonging through a configuration of queer times and places, despite the intensification of repressive politics in the Russian Federation between 2009 and 2021.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45220995","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}
Pub Date : 2023-08-01DOI: 10.1080/17503132.2023.2241804
Olga Andreevskikh
ABSTRACT LGBTQ media discourses in contemporary Russia have been extensively researched from the perspectives of media and queer studies. Scholars have theorised whether ‘queerness’ can be appropriated from the West and localised in Russia for the benefit of local LGBTQ communities. Building on existing scholarship, this article examines media discourses on queer film as initiated and maintained by representatives of Russian LGBTQ film audiences. I investigate how LGBTQ opinion leaders appropriate the term kvir (queer) in the context of viewing and interpreting contemporary, post-Soviet, and Soviet Russian cinema. I analyse how ‘queering’ is used as the optics for discerning obvious or ciphered visual and verbal expressions of non-heteronormative gender and sexuality on screen, at the same time reclaiming narratives of the recent and remote past, as both shared and individual LGBTQ histories.
{"title":"Queering Russian cinema as a community-building practice","authors":"Olga Andreevskikh","doi":"10.1080/17503132.2023.2241804","DOIUrl":"https://doi.org/10.1080/17503132.2023.2241804","url":null,"abstract":"ABSTRACT LGBTQ media discourses in contemporary Russia have been extensively researched from the perspectives of media and queer studies. Scholars have theorised whether ‘queerness’ can be appropriated from the West and localised in Russia for the benefit of local LGBTQ communities. Building on existing scholarship, this article examines media discourses on queer film as initiated and maintained by representatives of Russian LGBTQ film audiences. I investigate how LGBTQ opinion leaders appropriate the term kvir (queer) in the context of viewing and interpreting contemporary, post-Soviet, and Soviet Russian cinema. I analyse how ‘queering’ is used as the optics for discerning obvious or ciphered visual and verbal expressions of non-heteronormative gender and sexuality on screen, at the same time reclaiming narratives of the recent and remote past, as both shared and individual LGBTQ histories.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42031155","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}
Pub Date : 2023-07-30DOI: 10.1080/17503132.2023.2241803
T. Klepikova
ABSTRACT This article analyses the web series Central Russia’s Vampires (streaming platform Start, since 2021) as a site of articulating queerness on screen in contemporary Russia. I zoom in on the layers of family and tradition that lie at the core of the show and argue that by exploring them through the trope of the vampire – an immortal, subversive, queer figure – the show offers a non-normative spin on the patriarchal treatment of these topics in contemporary Russian hegemonic discourse. I demonstrate that the queering of family and tradition in the show happens on three levels. First, the series delivers a complex cartography of intertextual and multimedia references and produces a queer family with a cultural tradition of media presence that extends far beyond the show. Second, the series queers the idea of ‘traditional families’ that animates current Russian hegemonic discourse by portraying a family of Others – the vampires – who fit into majority scripts and are literally part of Russia’s tradition due to their centuries-old age. Finally, Central Russia’s Vampires queers the family and tradition on the level of genre, by producing a special New Year episode that normalises families of Others within Russian holiday-season films.
{"title":"Monsters with family and tradition: queering family in Central Russia’s Vampires","authors":"T. Klepikova","doi":"10.1080/17503132.2023.2241803","DOIUrl":"https://doi.org/10.1080/17503132.2023.2241803","url":null,"abstract":"ABSTRACT This article analyses the web series Central Russia’s Vampires (streaming platform Start, since 2021) as a site of articulating queerness on screen in contemporary Russia. I zoom in on the layers of family and tradition that lie at the core of the show and argue that by exploring them through the trope of the vampire – an immortal, subversive, queer figure – the show offers a non-normative spin on the patriarchal treatment of these topics in contemporary Russian hegemonic discourse. I demonstrate that the queering of family and tradition in the show happens on three levels. First, the series delivers a complex cartography of intertextual and multimedia references and produces a queer family with a cultural tradition of media presence that extends far beyond the show. Second, the series queers the idea of ‘traditional families’ that animates current Russian hegemonic discourse by portraying a family of Others – the vampires – who fit into majority scripts and are literally part of Russia’s tradition due to their centuries-old age. Finally, Central Russia’s Vampires queers the family and tradition on the level of genre, by producing a special New Year episode that normalises families of Others within Russian holiday-season films.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49656848","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}
Pub Date : 2023-05-04DOI: 10.1080/17503132.2023.2210875
B. Beumers
{"title":"Cinema and soft power: Configuring the national and transnational in geo-politics","authors":"B. Beumers","doi":"10.1080/17503132.2023.2210875","DOIUrl":"https://doi.org/10.1080/17503132.2023.2210875","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49482509","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}
Pub Date : 2023-05-03DOI: 10.1080/17503132.2023.2205285
E. V. Prokhorova
ABSTRACT This article explores the development of the script form in Soviet/Russian scriptwriting, which has drawn particular attention in the 1920s, when a polemic arose among film theorists and practitioners concerning the ‘iron’ and ‘emotional’ script. Sergei Eisenstein and Aleksandr Rzheshevskii, among others, favoured the emotional script with its expressive record of the future film to the rigid production plan of the ‘iron script’. In the 1930s, this polemic was resolved with the emergence of the ‘literary’ script, which united elements of both forms. Valentin Turkin, a pedagogue at Moscow’s Film School and author of the first Soviet textbook on film dramaturgy, played an important role in teaching of scriptwriting. Turkin defined the script as a heterogeneous literary form, an approach that influenced film dramaturgy into the 1960s–1970s, when Turkin’s theses were developed further: the scriptwriter’s work on the future film and on the script’s subsequent screen realisation are fruitful only through the literary script form. This approach dominated in teaching well into the 1990s, until the American format of the script was introduced with the first translations of textbooks into Russian, effectively returning to the ‘iron’ script form.
{"title":"The script form in Soviet and Russian film studies","authors":"E. V. Prokhorova","doi":"10.1080/17503132.2023.2205285","DOIUrl":"https://doi.org/10.1080/17503132.2023.2205285","url":null,"abstract":"ABSTRACT This article explores the development of the script form in Soviet/Russian scriptwriting, which has drawn particular attention in the 1920s, when a polemic arose among film theorists and practitioners concerning the ‘iron’ and ‘emotional’ script. Sergei Eisenstein and Aleksandr Rzheshevskii, among others, favoured the emotional script with its expressive record of the future film to the rigid production plan of the ‘iron script’. In the 1930s, this polemic was resolved with the emergence of the ‘literary’ script, which united elements of both forms. Valentin Turkin, a pedagogue at Moscow’s Film School and author of the first Soviet textbook on film dramaturgy, played an important role in teaching of scriptwriting. Turkin defined the script as a heterogeneous literary form, an approach that influenced film dramaturgy into the 1960s–1970s, when Turkin’s theses were developed further: the scriptwriter’s work on the future film and on the script’s subsequent screen realisation are fruitful only through the literary script form. This approach dominated in teaching well into the 1990s, until the American format of the script was introduced with the first translations of textbooks into Russian, effectively returning to the ‘iron’ script form.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44379038","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}
Pub Date : 2023-04-20DOI: 10.1080/17503132.2023.2203534
P. Stepanova
ABSTRACT Nonverbal semiotics offers new approaches to the analysis of corporeal codes that define cultural interpretations, social communications and creative processes of art works. Grigorii Kreidlin has singled out three groups of nonverbal corporeal signs, which help analyse more concisely the embodiment in contemporary cinema of a protagonist who, at the level of body techniques (according to Mauss), becomes a conductor for a complex system of interactions between man and the world. The protagonist’s selfhood is called into question by an elusive space (Augé’s ‘non-places’), which defines the motif of a wandering hero, who tries to escape from roles imposed by society but is unable to achieve his dream. The films made between 2017–2022 by Kira Kovalenko, Kantemir Balagov, Vladimir Bitokov and Aleksandr Zolotukhin – graduates of the first director’s workshop by Aleksandr Sokurov – are analysed from the point of view of nonverbal corporeal signs. In their works, corporeal techniques of performers and characters express issues of violence, as is evident in the use of regulator gestures that halt dialogue in family relations; illustrator gestures that designate non-freedom of corporeal expressions in choreographed dances; and emblem gestures that bring corporeality to the level of ‘illness as metaphor’.
{"title":"Nonverbal corporeal signs in the works of Aleksandr Sokurov’s students","authors":"P. Stepanova","doi":"10.1080/17503132.2023.2203534","DOIUrl":"https://doi.org/10.1080/17503132.2023.2203534","url":null,"abstract":"ABSTRACT Nonverbal semiotics offers new approaches to the analysis of corporeal codes that define cultural interpretations, social communications and creative processes of art works. Grigorii Kreidlin has singled out three groups of nonverbal corporeal signs, which help analyse more concisely the embodiment in contemporary cinema of a protagonist who, at the level of body techniques (according to Mauss), becomes a conductor for a complex system of interactions between man and the world. The protagonist’s selfhood is called into question by an elusive space (Augé’s ‘non-places’), which defines the motif of a wandering hero, who tries to escape from roles imposed by society but is unable to achieve his dream. The films made between 2017–2022 by Kira Kovalenko, Kantemir Balagov, Vladimir Bitokov and Aleksandr Zolotukhin – graduates of the first director’s workshop by Aleksandr Sokurov – are analysed from the point of view of nonverbal corporeal signs. In their works, corporeal techniques of performers and characters express issues of violence, as is evident in the use of regulator gestures that halt dialogue in family relations; illustrator gestures that designate non-freedom of corporeal expressions in choreographed dances; and emblem gestures that bring corporeality to the level of ‘illness as metaphor’.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44692508","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}
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