Cinemasaurus

Nancy Condee is Director of University of Pittsburgh’s Russian, East European, and Eurasian Studies Center, a Title VI Center.Alexander Prokhorov teaches at Russian and Film Studies Programs at the College of William & Mary.Elena Prokhorova teaches at Russian and Film Studies Programs at the College of William & Mary.

• Table of ContentsList of IllustrationsForewordStephen M. NorrisAcknowledgmentsNote on Transliteration and TranslationsCinemasaurus: IntroductionNancy Condee, Alexander Prokhorov, and Elena ProkhorovaPart One. Borders of Imperial DesireFraming EssayNancy Condee1. Imperial Fatigue: Somnambulants, Ghosts, and MonstersOlga Kim2. Empire Reloaded: Sacred Power in a Postmodern EraJustin Wilmes 3. Russia’s Quiet Other: Dmitrii Mamuliia’s Another Sky and Aleksandr Kott’s The TestEllina SattarovaPart Two. Hilarity and HorrorFraming EssayAlexander Prokhorov and Elena Prokhorova4. Laughing Apocalypse: Horror and/as ComedyDaria Ezerova5. Eccentricity, Theatricality, and the GrotesqueRobert Crane6. Privatized Violence in the New Russian CinemaDenis SaltykovPart Three. Evropsk or Russia?Framing EssaySeth Graham7. Fragments of Empire: The Heartland in Post-Soviet FilmZhanna Budenkova8. Russia on the Margins?Tetyana Shlikhar8. Contending Alterities: Drag Show, Roma Camp . . . Trevor WilsonPart Four. The Ideological Occult Framing EssayPetre Petrov9. Past, Present, and Posthumous Fathers: Cinepaternity ReloadedTheodora Trimble10. New Auteurism: The Case of Mikhalkov and BekmambetovOlga Mukhortova11. Elki: The Most Profitable Franchise of the Putin EraBeach GrayPart Five. Interviews12. The Mediascape: Alexander Rodnyansky (CEO, AR Films, Non-Stop Production)13. The Festival: Sitora Alieva (Program Director, Kinotavr)14. The Exhibition Space: Paul Heth (CEO, Rising Star Media; Karo Film Holding)15. The Film Journal: Birgit Beumers (KinoKultura, UK)16. The Film Symposium: Vladimir Padunov (Russian Film Symposium, US)Kino-GrafikNotes on the ContributorsWorks CitedIndex

“Cinemasaurus carefully traces a nuanced picture of multiple, often contradictory, tendencies in Russian film today. It looks equally to the past and future; and it investigates features both little and large, both peripheral and imperial. For these reasons, the editors and contributors are to be congratulated alike. Ideally suited to cinema survey classes, Cinemasaurus will offer clarity to both students and scholars, and it will prompt substantial future research.”—David MacFadyen, University of California, Los Angeles, Studies in European Cinema