Postcommunist Film - Russia, Eastern Europe and World Culture

Moving Images of Postcommunism

Nonfiction, Entertainment, Film, History & Criticism, Performing Arts, Social & Cultural Studies, Social Science
Cover of the book Postcommunist Film - Russia, Eastern Europe and World Culture by , Taylor and Francis
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Author: ISBN: 9781136475559
Publisher: Taylor and Francis Publication: February 28, 2013
Imprint: Routledge Language: English
Author:
ISBN: 9781136475559
Publisher: Taylor and Francis
Publication: February 28, 2013
Imprint: Routledge
Language: English

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 Mozambique - all formulated as within the postcommunist condition. It considers the postcommunist film in terms of transnational and World cinema. It covers a wide range of films from small and independent filmmaking to mainstream, popular cinema, and explains post-communist signifiers as manifested in visual culture both inside and outside former, and current, communist countries.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

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 Mozambique - all formulated as within the postcommunist condition. It considers the postcommunist film in terms of transnational and World cinema. It covers a wide range of films from small and independent filmmaking to mainstream, popular cinema, and explains post-communist signifiers as manifested in visual culture both inside and outside former, and current, communist countries.

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