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In addition to his numerous works in prose and poetry for both children and adults, Daniil Kharms (1905-42), one of the founders of Russia's "lost literature of the absurd," wrote notebooks and a diary for most of his adult life. Published for the first time in recent years in Russian, these notebooks provide an intimate look at the daily life and struggles of one of the central figures of the literary avant-garde in Post-Revolutionary Leningrad. While Kharms's stories have been translated and published in English, these diaries represents an invaluable source for English-language readers who, having already discovered Kharms in translation, desire to learn about the life and times of an avant-garde writer in the first decades of Soviet power.

Kharms, Daniil, -- 1905-1942. --- Languages & Literatures --- Slavic, Baltic and Albanian Languages & Literatures --- Kharms, Daniil, --- Хармс, Даниил, --- Ювачев, Даниил Иванович, --- I︠U︡vachev, Daniil Ivanovich, --- Charms, Daniil, --- Хармс, Д. --- Kharms, D. --- Хармс, Даниил Иванович, --- Kharms, Daniil Ivanovich, --- Harms, Daniil, --- Charms, Daniel, --- Joevatsjov, Daniil Ivanovitsj, --- E-books --- LITERARY CRITICISM / European / Eastern (see also Russian & Former Soviet Union). --- Charms, Daniil I., --- Daniil Kharms. --- NKVD. --- Post-Revolutionary Leningrad. --- Soviet. --- Stalin. --- absurdism. --- art. --- avant-garde. --- biography. --- childrens literature. --- dada. --- drama. --- literary notebooks. --- poetry. --- political dissidence. --- politics. --- prison. --- prose. --- surrealism. --- writer. --- Kharms, Daniil

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The early years of the twenty-first century have been an exciting transitional period in Russian cinema, as the industry recovered from the crises of the late 1990s and again stepped onto the global stage. During these years four generations, from the late Soviet directors through post-Soviet and New Russian filmmakers to the Russian millennials, have worked in varying visual styles and with diverse narrative strategies, while searching for a new cinematic language. Financing and distribution models have evolved, along with conservative politics driving Ministry of Culture regulation. This reader is intended both for contemporary Russian cinema courses and for modern Russian culture courses that emphasize film. It does not attempt to establish a canon for the period but seeks to provide undergraduate students with an introduction to significant Russian films released between 2005 and 2016 that are also available with English subtitles. The twenty-one essays on individual films provide background information on directors' careers, detailed analyses of selected films, along with suggested further readings both in English and Russian.

Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History --- History and criticism --- Aleksandr Mindadze. --- Aleksandr Sokurov. --- Aleksandr Zel'dovich. --- Aleksei Balabanov. --- Aleksei Fedorchenko. --- Aleksei German. --- Andrei Konchalovsky. --- Andrei Proshkin. --- Andrei Zviagintsev. --- Anna Melikian. --- Cargo 200. --- Contemporary Russian Culture. --- Contemporary Russian film. --- Dead Man's Bluff. --- Elena. --- Hard to be a God. --- Hipsters. --- Legend Number 17. --- Leviathan. --- Mermaid. --- Mikhail Segal. --- My Good Hans. --- My Joy. --- Nikolai Lebedev. --- Paradise. --- Post-Soviet film. --- Russian cinema. --- Sergei Loznitsa. --- Short Stories. --- Silent Souls. --- The Horde. --- The Land of Oz. --- The Sun. --- The Target. --- Valery Todorovsky. --- Vasily Sigarev. --- cinema. --- film. --- Motion pictures. --- 2000-2099. --- Russia (Federation).