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Condee THE IMPERIAL TRACE RECENT RUSSIAN CINEMA 2009 HB Empire War History
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- 賣家備註
- Book Title
- The Imperial Trace: Recent Russian Cinema
- Subject
- History
- ISBN
- 9780195366761
關於產品
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
019536676X
ISBN-13
9780195366761
eBay Product ID (ePID)
15038278367
Product Key Features
Number of Pages
360 Pages
Publication Name
Imperial Trace : Recent Russian Cinema
Language
English
Subject
Film / History & Criticism
Publication Year
2009
Type
Textbook
Subject Area
Performing Arts
Format
Hardcover
Dimensions
Item Height
1.1 in
Item Weight
20 Oz
Item Length
9.3 in
Item Width
6.2 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2008-029349
Reviews
"The Imperial Trace is hands down the most thought-provoking book that I have read in quite some time. It is as well (and wittily) written as it is thoroughly researched and skillfully argued, no mean feat given the complexity of the ideas therein. This superb book is essential reading for anyone interested in nations and empire and their cultural manifestations, in Russian cultural politics, and in late Soviet and contemporary Russian film." --Slavic Review "Offer[s] some compelling interpretations for six of Russia's contemporary directors. This is greatly appreciated and provides a starting point for other such scholarly discussions...Condee provides much insight into late- and post-Soviet cinema, which will be a relevant source for future scholarship." --Slavic and East European Journal "Imperial Trace provides insightful, always absorbing, sometimes provocative readings of the dialogue with the imperial legacy in the work of the six most significant film directors working in contemporary Russia."-Julian Graffy, University College London "This is a book full of surprises; rather than settling issues, it breaks open the discussion."-Ronald Grigor Suny, University of Michigan "This study represents not only a superb overview and nuanced reading of works by major Russian filmmakers bridging the late Soviet and post-Soviet period, but also a groundbreaking study of the intersection between constructions of empire, cultural institutions, and cinematic texts."-Catharine Nepomnyashchy, Columbia University "This is scholarship on contemporary Russian cinema at its best. Positioning Russia's understanding of 'empire' between political science and cultural studies, Condee provides a stunningly clear explanation for Russian cinema's failure to integrate into the European or American mainstream." -Birgit Beumers, University of Bristol "In The Imperial Trace, Nancy Condee has written one of the most ambitious, challenging and rewarding books ever written on Russian cinema: theoretically sophisticated, exhaustively researched, full of local insights and directions for further research, interdisciplinary in the best possible sense, modest in its claims, generous in its citation of other scholars, written with panache...Condee's book will richly reward careful readers and should become a classic in the field."--Studies in Russian and Soviet Cinema "The Imperial Trace is hands down the most thought-provoking book that I have read in quite some time. It is as well (and wittily) written as it is thoroughly researched and skilfully argued, no mean feat given the complexity of the ideas therin. This superb book is essential reading for anyone interested in nations and empire and their cultural manifestations, in Russian cultural politics, and in late Soviet and contemporary Russian film." --Denise J. Youngblood, Slavic Review "An insightful exploration of filmmaking in cultural context. Condee engages with current criticism in a consummate manner. Her research is daunting, her questions intriguing, and her analyses incisive. Solid archival documentation and a novel point of view make this book an invaluable contribution to the study of film, culture, nationhood, and empire." --The Russian Review, "Imperial Traceprovides insightful, always absorbing, sometimes provocative readings of the dialogue with the imperial legacy in the work of the six most significant film directors working in contemporary Russia."-Julian Graffy, University College London "This is a book full of surprises; rather than settling issues, it breaks open the discussion."-Ronald Grigor Suny, University of Michigan "This study represents not only a superb overview and nuanced reading of works by major Russian filmmakers bridging the late Soviet and post-Soviet period, but also a groundbreaking study of the intersection between constructions of empire, cultural institutions, and cinematic texts."-Catharine Nepomnyashchy, Columbia University "This is scholarship on contemporary Russian cinema at its best. Positioning Russia's understanding of 'empire' between political science and cultural studies, Condee provides a stunningly clear explanation for Russian cinema's failure to integrate into the European or American mainstream." -Birgit Beumers, University of Bristol "InThe Imperial Trace, Nancy Condee has written one of the most ambitious, challenging and rewarding books ever written on Russian cinema: theoretically sophisticated, exhaustively researched, full of local insights and directions for further research, interdisciplinary in the best possible sense, modest in its claims, generous in its citation of other scholars, written with panache...Condee's book will richly reward careful readers and should become a classic in the field."--Studies in Russian and Soviet Cinema "The Imperial Traceis hands down the most thought-provoking book that I have read in quite some time. It is as well (and wittily) written as it is thoroughly researched and skilfully argued, no mean feat given the complexity of the ideas therin. This superb book is essential reading for anyone interested in nations and empire and their cultural manifestations, in Russian cultural politics, and in late Soviet and contemporary Russian film." --Denise J. Youngblood,Slavic Review, "The Imperial Trace is hands down the most thought-provoking book that I have read in quite some time. It is as well (and wittily) written as it is thoroughly researched and skillfully argued, no mean feat given the complexity of the ideas therein. This superb book is essential reading for anyone interested in nations and empire and their cultural manifestations, in Russian cultural politics, and in late Soviet and contemporary Russian film."--Slavic Review"Offer[s] some compelling interpretations for six of Russia's contemporary directors. This is greatly appreciated and provides a starting point for other such scholarly discussions...Condee provides much insight into late- and post-Soviet cinema, which will be a relevant source for future scholarship." --Slavic and East European Journal"Imperial Trace provides insightful, always absorbing, sometimes provocative readings of the dialogue with the imperial legacy in the work of the six most significant film directors working in contemporary Russia."-Julian Graffy, University College London"This is a book full of surprises; rather than settling issues, it breaks open the discussion."-Ronald Grigor Suny, University of Michigan"This study represents not only a superb overview and nuanced reading of works by major Russian filmmakers bridging the late Soviet and post-Soviet period, but also a groundbreaking study of the intersection between constructions of empire, cultural institutions, and cinematic texts."-Catharine Nepomnyashchy, Columbia University"This is scholarship on contemporary Russian cinema at its best. Positioning Russia's understanding of 'empire' between political science and cultural studies, Condee provides a stunningly clear explanation for Russian cinema's failure to integrate into the European or American mainstream." -Birgit Beumers, University of Bristol"In The Imperial Trace, Nancy Condee has written one of the most ambitious, challenging and rewarding books ever written on Russian cinema: theoretically sophisticated, exhaustively researched, full of local insights and directions for further research, interdisciplinary in the best possible sense, modest in its claims, generous in its citation of other scholars, written with panache...Condee's book will richly reward careful readers and should becomea classic in the field."--Studies in Russian and Soviet Cinema"The Imperial Trace is hands down the most thought-provoking book that I have read in quite some time. It is as well (and wittily) written as it is thoroughly researched and skilfully argued, no mean feat given the complexity of the ideas therin. This superb book is essential reading for anyone interested in nations and empire and their cultural manifestations, in Russian cultural politics, and in late Soviet and contemporary Russian film." --Denise J.Youngblood, Slavic Review"An insightful exploration of filmmaking in cultural context. Condee engages with current criticism in a consummate manner. Her research is daunting, her questions intriguing, and her analyses incisive. Solid archival documentation and a novel point of view make this book an invaluable contribution to the study of film, culture, nationhood, and empire." --The Russian Review, "The Imperial Traceis hands down the most thought-provoking book that I have read in quite some time. It is as well (and wittily) written as it is thoroughly researched and skillfully argued, no mean feat given the complexity of the ideas therein. This superb book is essential reading for anyone interested in nations and empire and their cultural manifestations, in Russian cultural politics, and in late Soviet and contemporary Russian film." --Slavic Review "Offer[s] some compelling interpretations for six of Russia's contemporary directors. This is greatly appreciated and provides a starting point for other such scholarly discussions...Condee provides much insight into late- and post-Soviet cinema, which will be a relevant source for future scholarship." --Slavic and East European Journal "Imperial Traceprovides insightful, always absorbing, sometimes provocative readings of the dialogue with the imperial legacy in the work of the six most significant film directors working in contemporary Russia."-Julian Graffy, University College London "This is a book full of surprises; rather than settling issues, it breaks open the discussion."-Ronald Grigor Suny, University of Michigan "This study represents not only a superb overview and nuanced reading of works by major Russian filmmakers bridging the late Soviet and post-Soviet period, but also a groundbreaking study of the intersection between constructions of empire, cultural institutions, and cinematic texts."-Catharine Nepomnyashchy, Columbia University "This is scholarship on contemporary Russian cinema at its best. Positioning Russia's understanding of 'empire' between political science and cultural studies, Condee provides a stunningly clear explanation for Russian cinema's failure to integrate into the European or American mainstream." -Birgit Beumers, University of Bristol "InThe Imperial Trace, Nancy Condee has written one of the most ambitious, challenging and rewarding books ever written on Russian cinema: theoretically sophisticated, exhaustively researched, full of local insights and directions for further research, interdisciplinary in the best possible sense, modest in its claims, generous in its citation of other scholars, written with panache...Condee's book will richly reward careful readers and should become a classic in the field."--Studies in Russian and Soviet Cinema "The Imperial Traceis hands down the most thought-provoking book that I have read in quite some time. It is as well (and wittily) written as it is thoroughly researched and skilfully argued, no mean feat given the complexity of the ideas therin. This superb book is essential reading for anyone interested in nations and empire and their cultural manifestations, in Russian cultural politics, and in late Soviet and contemporary Russian film." --Denise J. Youngblood,Slavic Review "An insightful exploration of filmmaking in cultural context. Condee engages with current criticism in a consummate manner. Her research is daunting, her questions intriguing, and her analyses incisive. Solid archival documentation and a novel point of view make this book an invaluable contribution to the study of film, culture, nationhood, and empire." --The Russian Review, "The Imperial Trace is hands down the most thought-provoking book that I have read in quite some time. It is as well (and wittily) written as it is thoroughly researched and skillfully argued, no mean feat given the complexity of the ideas therein. This superb book is essential reading for anyone interested in nations and empire and their cultural manifestations, in Russian cultural politics, and in late Soviet and contemporary Russian film." --Slavic Review"Offer[s] some compelling interpretations for six of Russia's contemporary directors. This is greatly appreciated and provides a starting point for other such scholarly discussions...Condee provides much insight into late- and post-Soviet cinema, which will be a relevant source for future scholarship." --Slavic and East European Journal"Imperial Trace provides insightful, always absorbing, sometimes provocative readings of the dialogue with the imperial legacy in the work of the six most significant film directors working in contemporary Russia."-Julian Graffy, University College London"This is a book full of surprises; rather than settling issues, it breaks open the discussion."-Ronald Grigor Suny, University of Michigan"This study represents not only a superb overview and nuanced reading of works by major Russian filmmakers bridging the late Soviet and post-Soviet period, but also a groundbreaking study of the intersection between constructions of empire, cultural institutions, and cinematic texts."-Catharine Nepomnyashchy, Columbia University"This is scholarship on contemporary Russian cinema at its best. Positioning Russia's understanding of 'empire' between political science and cultural studies, Condee provides a stunningly clear explanation for Russian cinema's failure to integrate into the European or American mainstream." -Birgit Beumers, University of Bristol"In The Imperial Trace, Nancy Condee has written one of the most ambitious, challenging and rewarding books ever written on Russian cinema: theoretically sophisticated, exhaustively researched, full of local insights and directions for further research, interdisciplinary in the best possible sense, modest in its claims, generous in its citation of other scholars, written with panache...Condee's book will richly reward careful readers and should become a classic in the field."--Studies in Russian and Soviet Cinema"The Imperial Trace is hands down the most thought-provoking book that I have read in quite some time. It is as well (and wittily) written as it is thoroughly researched and skilfully argued, no mean feat given the complexity of the ideas therin. This superb book is essential reading for anyone interested in nations and empire and their cultural manifestations, in Russian cultural politics, and in late Soviet and contemporary Russian film." --Denise J. Youngblood, Slavic Review"An insightful exploration of filmmaking in cultural context. Condee engages with current criticism in a consummate manner. Her research is daunting, her questions intriguing, and her analyses incisive. Solid archival documentation and a novel point of view make this book an invaluable contribution to the study of film, culture, nationhood, and empire." --The Russian Review, " Imperial Trace provides insightful, always absorbing, sometimes provocative readings of the dialogue with the imperial legacy in the work of the six most significant film directors working in contemporary Russia."-Julian Graffy, University College London "This is a book full of surprises; rather than settling issues, it breaks open the discussion."-Ronald Grigor Suny, University of Michigan "This study represents not only a superb overview and nuanced reading of works by major Russian filmmakers bridging the late Soviet and post-Soviet period, but also a groundbreaking study of the intersection between constructions of empire, cultural institutions, and cinematic texts."-Catharine Nepomnyashchy, Columbia University "This is scholarship on contemporary Russian cinema at its best. Positioning Russia's understanding of 'empire' between political science and cultural studies, Condee provides a stunningly clear explanation for Russian cinema's failure to integrate into the European or American mainstream." -Birgit Beumers, University of Bristol
TitleLeading
The
Dewey Edition
22
Illustrated
Yes
Dewey Decimal
791.430947
Table Of Content
List of IllustrationsAcknowledgements1. Introduction: Custodian of the Empire2. Cine-Amnesia: How Russia Forgot to Go to the Movies3. Mikhalkov: European but Not Western4. Muratova: The Zoological Imperium5. Abdrashitov-Mindadze: A Comuunity of Somnambulants6. Sokurov: Shuffling Off the Imperial Coil7. German: Forensics in the Dynastic Capital8. Balabanov: The Metropole's Death Drive9. PostscriptReferencesIndex
Synopsis
The collapse of the USSR seemed to spell the end of the empire, yet it by no means marked the end of Russia's enduring imperial preoccupations, extending over four and a half centuries since the reign of Ivan IV. Is there such a thing as an imperial trace in Russia's contemporary culture? Condee argues that we cannot make sense of contemporary Russian culture without accounting for its imperial legacy and mapping out the terms of such an analysis. She turns to theinstance of contemporary cinema to focus this line of inquiry. Within film (and implicitly other cultural fields as well) do we limit our accounting to narrative evidence--Chechen wars at theperiphery, historical costume dramas of court life--or could an imperial trace be sought in other, more embedded ways, in the manner and structure or representation, the conditions of productions, the recurrent preoccupations of its leading filmmakers, the ways in which collective belonging is figured or disfigured? This book organizes these questions around the work of Russia's internationally ranked auteurs of the late Soviet and post-Soviet period: Kira Muratova, Vadim Abdrashitov, NikitaMikhalkov, Aleksei German, and Aleksandr Sokurov., The collapse of the USSR seemed to spell the end of the empire, yet it by no means foreclosed on Russia's enduring imperial preoccupations, which had extended from the reign of Ivan IV over four and a half centuries. Examining a host of films from contemporary Russian cinema, Nancy Condee argues that we cannot make sense of current Russian culture without accounting for the region's habits of imperial identification. But is this something made legible through narrative alone - Chechen wars at the periphery, costume dramas set in the capital - or could an imperial trace be sought in other, more embedded qualities, such as the structure of representation, the conditions of production, or the preoccupations of its filmmakers? This expansive study takes up this complex question through a commanding analysis of the late Soviet and post-Soviet period auteurists, Kira Muratova, Vadim Abdrashitov, Nikita Mikhalkov, Aleksei German, Aleksandr Sokurov and Aleksei Balabanov., The collapse of the USSR seemed to spell the end of the empire, yet it by no means foreclosed on Russia's enduring imperial preoccupations, which had extended from the reign of Ivan IV over four and a half centuries. Examining a host of films from contemporary Russian cinema, Nancy Condee argues that we cannot make sense of current Russian culture without accounting for the region's habits of imperial identification. But is this something made legible through narrative alone-Chechen wars at the periphery, costume dramas set in the capital-or could an imperial trace be sought in other, more embedded qualities, such as the structure of representation, the conditions of production, or the preoccupations of its filmmakers? This expansive study takes up this complex question through a commanding analysis of the late Soviet and post-Soviet period auteurists, Kira Muratova, Vadim Abdrashitov, Nikita Mikhalkov, Aleksei German, Aleksandr Sokurov and Aleksei Balabanov., The collapse of the USSR seemed to spell the end of the empire, yet it by no means marked the end of Russia's enduring imperial preoccupations, extending over four and a half centuries since the reign of Ivan IV. Is there such a thing as an imperial trace in Russia's contemporary culture? Condee argues that we cannot make sense of contemporary Russian culture without accounting for its imperial legacy and mapping out the terms of such an analysis. She turns to the instance of contemporary cinema to focus this line of inquiry. Within film (and implicitly other cultural fields as well) do we limit our accounting to narrative evidence-Chechen wars at the periphery, historical costume dramas of court life-or could an imperial trace be sought in other, more embedded ways, in the manner and structure or representation, the conditions of productions, the recurrent preoccupations of its leading filmmakers, the ways in which collective belonging is figured or disfigured? This book organizes these questions around the work of Russia's internationally ranked auteurs of the late Soviet and post-Soviet period: Kira Muratova, Vadim Abdrashitov, Nikita Mikhalkov, Aleksei German, and Aleksandr Sokurov.
LC Classification Number
PN1993.5.R9C66 2009
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