Contemporary Russian Cinema

Vlad Strukov is Associate Professor at the University of Leeds, specialising in world cinemas, digital media and cultural theory

• IntroductionChapter 1: Abstracted Subjectivity and Knowledge-Worlds: Aleksandr Sokurov’s Taurus (2001)Chapter 2: The Lacking Sense of Cinema: Aleksandr Proshkin’s The Miracle (2009)Chapter 3: Gatekeepers of (Non-)Knowledge: Aleksei Balabanov’s Morphine (2008)Chapter 4: Symbolic Folds and Flattened Discourse: Andrei Zviagintsev’s Elena (2010)Chapter 5: Non-Knowledge and the Symbolic Mode: Nikolai Khomeriki’s A Tale About Darkness (2009)Chapter 6: The World and the Event: Kirill Serebrennikov’s St. George’s Day (2008)Chapter 7: A Plea for the Dead (Self): Renata Litvinova’s Goddess: How I Fell in Love (2004)Chapter 8: Body in Crisis and Posthumous Subjectivity: Igor’ Voloshin’s Nirvana (2008)Chapter 9: The Difficulty of Being Dead: Aleksandr Veledinskii’s Alive (2006)Chapter 10: Intentionality and Modelled Subjectivities: Aleksei Fedorchenko’s Silent Souls (2010)Chapter 11: Abandoned Being: Mikhail Kalatozishvili’s The Wild Field (2008)Chapter 12: Conclusions: Amplifications of Subjectivity: Aleksandr Zel’dovich’s The Target (2010)FilmographyBibliographyIndex

Pioneering and original, this book brings contemporary theory to the study of modern Russian film and brings recent Russian film to the attention of cultural theorists. Full of penetrating and exciting insights, it deepens our understanding of how contemporary Russian authorial cinema works and reminds us why it is important.