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Postcommunist Film - Russia, Eastern Europe and World Culture : Moving Images of Post-Communism.

A 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 nat...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Kristensen, Lars Lyngsgaard Fjord
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Hoboken : Taylor & Francis, 2012.
Colección:Routledge contemporary Russia and Eastern Europe series.
Temas:
Acceso en línea:Texto completo

MARC

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505 0 |a Front 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. 
505 8 |a 7. Demolish, preserve or beautify: Ewa Mazierska8. Treading new paths: Sune Bechmann Pedersen; 9. The crime that changed Serbia: Nevena Daković; 10. Projected nation and projected self: Yun-Hua Chen; 11. Truancy, or thought from the provinces: Yün Peng; 12. Representations of former USSR and Eastern European identity in Turkish cinema: Serazer Pekerman; References; Index. 
520 |a A 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 revolutionary films of Mo. 
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