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Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)
Journal of Religion & Film Volume 24 Issue 2 October 2020 Article 1 October 2020 Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Maria Hristova Lewis and Clark College, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Part of the Christianity Commons, European Languages and Societies Commons, and the Other Film and Media Studies Commons Recommended Citation Hristova, Maria (2020) "Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)," Journal of Religion & Film: Vol. 24 : Iss. 2 , Article 1. DOI: 10.32873/uno.dc.jrf.24.2.001 Available at: https://digitalcommons.unomaha.edu/jrf/vol24/iss2/1 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Abstract This article engages in close analysis of how Andrey Zvyagintsev depicts corruption and its various manifestations: moral, familial, societal, and institutional, in Leviathan (Leviafan, 2014). While other post- Soviet films address the problem of prevalent corruption in Russia, Zvyagintsev’s work is the first ot provoke strong public reactions, not only from government and Russian Orthodox Church officials, but also from Orthodox and political activist groups. The film demonstrates that the instances of legal and moral failings in one aspect of existence are a sign of a much deeper and wider-ranging problem that affects all other spheres of human experience. -
Connections Between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M
Communication and Theater Association of Minnesota Journal Volume 36 Article 2 January 2009 "Brother," Enjoy Your Hypermodernity! Connections between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M. Brandon Hillsdale College, [email protected] Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Film and Media Studies Commons, and the Soviet and Post-Soviet Studies Commons Recommended Citation Brandon, J. (2009). "Brother," Enjoy Your Hypermodernity! Connections between Gilles Lipovetsky's Hypermodern Times and Post- Soviet Russian Cinema. Communication and Theater Association of Minnesota Journal, 36, 7-22. This General Interest is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Brandon: "Brother," Enjoy Your Hypermodernity! Connections between Gilles CTAMJ Summer 2009 7 “Brother,” Enjoy your Hypermodernity! Connections between Gilles Lipovetsky’s Hypermodern Times and Post-Soviet Russian Cinema James M. Brandon Associate Professor [email protected] Department of Theatre and Speech Hillsdale College Hillsdale, MI ABSTRACT In prominent French social philosopher Gilles Lipovetsky’s Hypermodern Times (2005), the author asserts that the world has entered the period of hypermodernity, a time where the primary concepts of modernity are taken to their extreme conclusions. The conditions Lipovetsky described were already manifesting in a number of post-Soviet Russian films. In the tradition of Slavoj Zizek’s Enjoy Your Symptom (1992), this essay utilizes a number of post-Soviet Russian films to explicate Lipovetsky’s philosophy, while also using Lipovetsky’s ideas to explicate the films. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Tales of Russianness: Post-Soviet identity formation in popular film and television Souch, I.S. Publication date 2015 Document Version Final published version Link to publication Citation for published version (APA): Souch, I. S. (2015). Tales of Russianness: Post-Soviet identity formation in popular film and television. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:29 Sep 2021 TALES OF RUSSIANNESS POST-SOVIET IDENTITY FORMATION IN POPULAR FILM AND TELEVISION IRINA SOUCH UNIVERSITY OF AMSTERDAM 2015 Tales of Russianness: Post-Soviet Identity Formation in Popular Film and Television ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. -
Self/Other Representations in Aleksei Balabanov's 'Zeitgeist Movies'
SELF/OTHER REPRESENTATIONS IN ALEKSEI BALABANOV‟S „ZEITGEIST MOVIES‟: FILM GENRE, GENRE FILM AND INTERTEXTUALITY Florian Weinhold School of Languages, Linguistics and Cultures A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 2 Contents ABSTRACT……………….……………………………..….............…............... 6 DECLARATION………………………………………………….......................7 COPYRIGHT STATEMENT.....……………………………………................. 7 THE AUTHOR...………………………………………………….......................8 ACKNOWLEDGEMENTS…………………………..………....…................... .9 Chapter 1: Introduction..............................………………………......……........11 1.1 Background, Rationale, Aim and Structure of the Introduction…………. 11 1.2 Why Balabanov?…………………………………..…….…….................. 13 1.3 Why Balabanov‟s „Genre Films‟?………………………..………............ 16 1.4 Balabanov‟s Genre Films in Russian and Western Criticism..................... 19 1.5 Contributions of the Study......................………………………………… 28 1.6 Aim, Objectives and Research Questions of the Thesis..............…........... 29 1.7 Primary Sources………….......................................................................... 31 1.8 Structure of the Thesis................................................................................ 32 Chapter 2: Methodology.......................................................................................35 2.1 Introduction...........................………………….......................................... 35 2.2 Why Genre?……………………………………...................……............ -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
Fog of Falsehood: Russian Strategy of Deception and the Conflict in Ukraine
FIIA REPORT 45 Fog of Falsehood Russian Strategy of Deception and the Conflict in Ukraine Katri Pynnöniemi & András Rácz (eds.) FIIA REPORT 45 Fog of Falsehood Russian Strategy of Deception and the Conflict in Ukraine Fog of Falsehood Russian Strategy of Deception and the Conflict in Ukraine Katri Pynnöniemi & András Rácz (eds.) ULKOPOLIITTINEN INSTITUUTTI UTRIKESPOLITISKA INSTITUTET THE FINNISH INSTITUTE OF INTERNATIONAL AFFAIRS FIIA rePort 45 Reports can be ordered from the Finnish Institute of International Affairs. +358 9 432 7707 [email protected] All FIIA reports and other publications are also available on our website at www.fiia.fi. Language editing: Anna Sinkkonen (chapters 1-4), Aakkosto Oy (chapters 5-14) Graphic design: Nordenswan & Siirilä Oy / Tuomas Kortteinen Layout: Kaarina Tammisto Printed by Grano Oy, 2016 The Finnish Institute of International Affairs Ulkopoliittinen instituutti PL 400 00161 Helsinki Finland www.fiia.fi ISBN 978-951-769-485-8 (print) ISBN 978-951-769-486-5 (web) ISSN 2323-5454 The Finnish Institute of International Affairs is an independent research institute that produces high-level research to support political decision-making and public debate both nationally and internationally. All manuscripts are reviewed by at least two other experts in the field to ensure the high quality of the publications. In addition, publications undergo professional language checking and editing. The responsibility for the views expressed ultimately rests with the authors. Acknowledgements The research process for this report started in early summer of 2014 in the form of informal discussion on how to better understand Russia’s strategic communication concerning the conflict in Ukraine. -
Order and Disorder in Russian Contemporary Popular Culture Hélène Mélat
Order and disorder in russian contemporary popular culture Hélène Mélat To cite this version: Hélène Mélat. Order and disorder in russian contemporary popular culture. Przeglad rusycystyczny, 2007, Politics of Russian Popular Culture, 120 (4). hal-01389806 HAL Id: hal-01389806 https://hal.archives-ouvertes.fr/hal-01389806 Submitted on 29 Oct 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. PRZEGLĄD RUSYCYSTYCZNY 2007. ZESZYT 4 (120) Hélène Mélat Sorbonne University, France ORDER AND DISORDER IN CONTEMPORARY RUSSIAN BLOCKBUSTERS Introduction One of the most striking phenomena in the Russian culture at the turn of the 21st century is the explosion of popular culture (detective literature and cinema, romance, fantasy) and its diversifi cation. For a scholar, popular culture is interest- ing because, on the one hand, it refl ects the state of mind of the population and, on the other hand, it helps to create a special ‘populous’ state of mind. It is a powerful tool for the political establishment that helps to convey an ideology because it is both entertaining and easily accessible. In this vein, modern fairy tales for adults can tell us a lot about the Russian society of our days. -
Some Stately Harmonies in Recent Russian and Uzbek Film
Tuning the Family Piano: Some Stately Harmonies in Recent Russian and Uzbek Film Introduction In Kira Muratova’s dark comedy of 2004, “The Piano Tuner” (Nastroishchik), a young conman by the name of Andrei finds himself left momentarily alone by his soon- to-be victims, a couple of middle-aged women. As he ponders the piano he has offered to fix and the antiques he plans to swipe, the ladies prepare tea, cheese and biscuits in the kitchen. Pleasantly surprised at the initial ease with which his deceit has met success, Andrei lapses into a formless musical improvisation, wiggling his tongue, humming and strumming on some non-existent stringed instrument. The ladies in the kitchen start to worry about leaving this odd stranger alone: “Maybe he’s a Jew,” says one of them, “Maybe a Chechen, perhaps Armenian?” Increasingly unnerved by this dodgy exotic presence on the other side of the wall, one of the women hurries into the corridor and eavesdrops on Andrei. She listens to his tuneless warbling and twanging, pondering the issue of his nationality one more time. Only when the sounds become unspeakably dreadful does she whisper to herself: “Uzbek.”1 This distancing of oddity serves to define the ladies’ normality; it needs to be noted, defined and then kept at arm’s length for a Russian normalcy to recognize itself. Unnerved by this bond with strangeness, Russia’s experience of Central Asian culture has, all humor aside, been a centuries-long tale of massive distancing or repression in two senses; Moscow so often suppressed some kind of sidelined or “zero-Islam” it needed for self-definition, only then to invade and inhibit Islam in the 1860s, when Slavs conquered 1 the broader realm of Central Asia. -
The Construction of Masculine Subjectivity Within Articulations of Russia's Post-Soviet National Idea
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2012 Rewriting the Future: The Construction of Masculine Subjectivity Within Articulations of Russia's Post-Soviet National Idea Arianna L. Nowakowski University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Eastern European Studies Commons, and the Gender and Sexuality Commons Recommended Citation Nowakowski, Arianna L., "Rewriting the Future: The Construction of Masculine Subjectivity Within Articulations of Russia's Post-Soviet National Idea" (2012). Electronic Theses and Dissertations. 480. https://digitalcommons.du.edu/etd/480 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. REWRITING THE FUTURE: THE CONSTRUCTION OF MASCULINE SUBJECTIVITY WITHIN ARTICULATIONS OF RUSSIA’S POST-SOVIET NATIONAL IDEA ____________ A Dissertation Presented to the Faculty of the Josef Korbel School of International Studies ____________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy ____________ by Arianna L. Nowakowski June 2012 Advisor: Dr. Jonathan Adelman © Copyright by Arianna L. Nowakowski 2012 All Rights Reserved Author: Arianna L. Nowakowski Title: REWRITING THE FUTURE: THE CONSTRUCTION OF MASCULINE SUBJECTIVITY WITHIN ARTICULATIONS OF RUSSIA’S POST-SOVIET NATIONAL IDEA Advisor: Dr. Jonathan Adelman Degree Date: June 2012 ABSTRACT This dissertation evaluates the construction, negotiation, and contestation of masculine Subjectivity within articulations of Russia’s post-Soviet national Idea. -
[Кочегар] Domestic Space Prominently Features a Warm Burning Stove, and Mobsters Are Told to Burn Russia, 2010 Their Hit Lists After Reading
The oven is at the center of both visual and The Stoker verbal play in the film. Each character’s [Кочегар] domestic space prominently features a warm burning stove, and mobsters are told to burn Russia, 2010 their hit lists after reading. Color, 87 minutes The film, set in the mid 1990s outside of St. Petersburg, tells the story of an ethnic Yakut, Director: Aleksei Balabanov Major Skriabin, a shell-shocked veteran of the Screenplay: Aleksei Balabanov Afghan-Soviet War, who works as a stoker. Cinematography: Aleksandr Simonov Living in the incinerator room, the Major Production Designer: Anastasiia Karimullina shovels coal all day, turning a blind eye to his Composer: Valerii Didiulia former military comrade turned mobster, the Sound: Maksim Belovolov Sergeant, who arrives to dispose of bodies. Producer: Sergei Sel'ianov Balabanov’s mobsters are typical caricatures, Production: STV Film Company taken not only from his previous films such as Cast: Mikhail Skriabin, Iurii Matveev, Dead Man’s Bluff (2005), but also Hollywood Aleksandr Mosin, Aida Tumutova, Anna films. The main hitman, who displays no Korotaeva, Viacheslav Tel'nov emotion and kills with machine-like efficiency, Awards: White Elephant 2010 (Best Feature resembles the iconic character of Anton Chigurh Film, Best Director, Best Music, Best from Ethan and Joel Coen’s recent film No Production Design), Window to Europe 2010 Country for Old Men (2007). A deadly love (Special Jury Prize, Prize of Russian Film triangle between the stoker’s daughter, the Experts and Critics), Stalker 2010 (Best Feature sergeant’s daughter, and the hitman unites all of Film) these characters. -
Balabanov and Hero in Post-Soviet Cinema
Tony Anemone College of William & Mary About Freaks, Killers and Real Men: The Vigilante Hero of Aleksey Balabanov’s Films DRAFT Introduction: On Culture and Heroes It is a truism that cultural heroes are both products and producers of social attitudes and values. In looking at Russian culture of the 19th and 20th centuries, it is hard not to see obvious correlations between social and political trends and the heroes created by Russian writers and artists: obvious examples are the superfluous man, born asan implicit critique of the closed and repressive society of Nicholas I, and the positive hero, an essential element of the propagandistic and utopian culture of revolution in the pre- and post-1917 Russia. The hero of post-Soviet cinema can be seen as a reflection and a product of a society profoundly traumatized not only by 70 years of Soviet power, but by more than a decade of political crises, economic decline, social unrest and war. The realization that the ideals and values of Soviet society were empty lies ignited not only a wave of revulsion and cynicism, but a search for new values and heroes as well. Because of cinema’s role as “dream factory” for modern societies, its central role in imagining new heroes should come as no surprise. Nor is it surprising that the post-soviet hero has been, by and large, defined by his opposition to Soviet values, myths and legends. If Soviet culture attempted to create a supra-national hero, the new Soviet man, post-Soviet cinema stresses specifically national heroes and values. -
Closed-Captioned and Subtitled Titles
Libraries CLOSED-CAPTIONED AND SUBTITLED TITLES The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 1964 DVD-7724 10 DVD-1717 1968 with Tom Brokaw DVD-5235 10 Things I Hate About You DVD-0254 1984 (Hurt) DVD-6795 DVD-0812 DVD-4640 1000 Eyes of Dr. Mabuse DVD-0048 2 Autumns, 3 Summers DVD-7930 10th Victim DVD-5591 2 or 3 Things I Know About Her DVD-6091 11th Hour DVD-5026 20 Million Miles to Earth DVD-3608 12 DVD-1200 20,000 Leagues Under the Sea DVD-8356 12 and Holding DVD-5110 2000 and Beyond: Confronting the Microbe Menace DVD-0126 12 Angry Men DVD-0850 2001: A Space Odyssey DVD-0260 12 Monkeys DVD-8358 DVD-8357 DVD-3375 DVD-1239 12 Years a Slave DVD-7691 2010: The Year We Make Contact DVD-3418 127 Hours DVD-8008 2012 DVD-4759 13 Going on 30 DVD-8704 21 Grams DVD-8358 1408 DVD-7675 21 Up South Africa DVD-3691 1776 DVD-0397 24 City DVD-9072 180 DVD-3999 24 Hour Party People DVD-8359 1900 DVD-4443 24 Hours 24 Million Meals: Feeding New York DVD-8157 1900 House DVD-0500 24 Season 1 (Discs 1-3) DVD-2780 Discs 1930s (Discs 1-3) DVD-5348 Discs 24 Season 1 (Discs 1-3) c.2 DVD-2780 Discs 1930s (Discs 4-5) DVD-5348 Discs 24 Season 1 (Discs 4-6) DVD-2780 Discs 1940s House DVD-3463 24 Season 1 (Discs 4-6) c.2 DVD-2780 Discs 9/5/2017 24 Season 2 (Discs 1-4) DVD-2282 Discs 39 Steps DVD-0337 24 Season 2 (Discs 5-7) DVD-2282 Discs 39 Steps c.2 DVD-0337 c.2