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This book explores the memorial practices of the Soviet underground, examining how political, social, and cultural shifts impact memory and its documentation. Edited by Klavdia Smola, Ilya Kukulin, and Annelie Bachmaier, it is part of the Macmillan Memory Studies series. It delves into topics such as archiving subcultures, archival aesthetics, and the role of artists as collectors and cultural historians within the Soviet underground. The book also discusses the afterlife of memory and the politics of archiving in contemporary Russia. It aims to provide a comprehensive understanding of how memory is shaped, preserved, and interpreted across different periods and contexts, with insights from various contributors specializing in Soviet history and culture.
Memory. --- Soviet Union.
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Cet ouvrage analyse le devenir d’un « imaginaire raciologique », c’est-à-dire des représentations fondées sur l’idée de l’existence de « races » humaines – ces représentations qui se sont développées, dans le cadre d’une anthropologie classificatoire, au cours du xixe siècle, selon une pensée de type polygéniste, avec les implications racistes qu’elle a pu véhiculer ou légitimer. Cet imaginaire raciologique n’est pas sans contradiction : il postule parfois aussi bien une fixité des « races » qu’une peur qu’elles ne se mélangent. Mais dans un cas comme dans l’autre s’établissent des hiérarchies, mises au service de différents discours de domination et d’exclusion. La spécificité de l’approche comparatiste développée ici consiste à s’interroger sur la diffusion, en France, de ces discours raciologiques, mais aussi sur leurs réinterprétations (souvent mises au service d’un discours nationaliste), au xxe siècle, dans l’espace soviétique et russe, que ce soit dans la littérature ou dans des corpus de type anthropologique, sociologique, politique ou philosophique.
History --- Anthropology --- race --- racisme --- représentation --- discours --- nationalisme --- anthropologie classificatoire
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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).
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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.
Art --- Motion pictures --- Motion pictures. --- History --- 2000-2099. --- Russia (Federation). --- 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.
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