LEADER 04072oam 2200733I 450 001 9910779038903321 005 20230126202918.0 010 $a1-136-47555-9 010 $a1-136-47556-7 010 $a0-203-13115-0 024 7 $a10.4324/9780203131152 035 $a(CKB)2550000000097872 035 $a(EBL)957053 035 $a(OCoLC)798532573 035 $a(SSID)ssj0000678772 035 $a(PQKBManifestationID)11457547 035 $a(PQKBTitleCode)TC0000678772 035 $a(PQKBWorkID)10728471 035 $a(PQKB)11209936 035 $a(MiAaPQ)EBC957053 035 $a(Au-PeEL)EBL957053 035 $a(CaPaEBR)ebr10545592 035 $a(CaONFJC)MIL760942 035 $a(OCoLC)785426626 035 $a(EXLCZ)992550000000097872 100 $a20180706d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aPostcommunist film-- Russia, Eastern Europe and world culture $emoving images of postcommunism /$fedited by Lars Kristensen 210 1$aNew York, N.Y. :$cRoutledge,$d2012. 215 $a1 online resource (217 p.) 225 1 $aRoutledge contemporary Russia and Eastern Europe series 300 $aDescription based upon print version of record. 311 $a0-415-73131-3 311 $a0-415-67164-7 320 $aIncludes bibliographical references and index. 327 $aFront 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 327 $a7. Demolish, preserve or beautify: Ewa Mazierska8. Treading new paths: Sune Bechmann Pedersen; 9. The crime that changed Serbia: Nevena Dakovic?; 10. Projected nation and projected self: Yun-Hua Chen; 11. Truancy, or thought from the provinces: Yu?n Peng; 12. Representations of former USSR and Eastern European identity in Turkish cinema: Serazer Pekerman; References; Index 330 $aA post-communist condition has arisen from the fall of the Berlin Wall and later the Soviet Empire: this book looks at how this condition has manifested itself globally in the production of post-communist film. It argues post-communism is a shared experience on a geopolitical level, unlimited by national state borders, and examines post-communist cross culturalism and global totalitarianism within film.The book examines different national cinemas and dissimilar cinematic modes - from Russian blockbuster cinema to Chinese independent cinema; from Serbian city films to revolutio 410 0$aRoutledge contemporary Russia and Eastern Europe series. 606 $aMotion pictures$xSocial aspects$zRussia (Federation) 606 $aMotion pictures$xPolitical aspects$zRussia (Federation) 606 $aMotion pictures$xSocial aspects$zEurope, Eastern 606 $aMotion pictures$xPolitical aspects$zEurope, Eastern 606 $aPost-communism$xSocial aspects$zRussia (Federation) 606 $aPost-communism$xSocial aspects$zEurope, Eastern 615 0$aMotion pictures$xSocial aspects 615 0$aMotion pictures$xPolitical aspects 615 0$aMotion pictures$xSocial aspects 615 0$aMotion pictures$xPolitical aspects 615 0$aPost-communism$xSocial aspects 615 0$aPost-communism$xSocial aspects 676 $a302.23/430947 701 $aKristensen$b Lars Lyngsgaard Fjord$01546189 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910779038903321 996 $aPostcommunist film-- Russia, Eastern Europe and world culture$93801591 997 $aUNINA