Postcommunist Film - Russia, Eastern Europe and World Culture: Moving Images of Postcommunism (Routledge Contemporary Russia and Eastern Europe)
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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.
ambiguous. Not only do hooligans often harbor secret yearnings for power, using their ironic stance as a compensatory strategy for social powerlessness, but the state also frequently operates with a hooligan logic.31 The dialectical reversibility suggests that the hooligan opposition to the state has never really left Inner Mongolia behind. In Outer Mongolian the outlook is different. Maybe because we are in the provinces, Platform’s sense of irony, though greater, no longer feels punchy. For
legacy of socialist friendship seems confined to the intimate spaces of personal affect – that of individual friendships, of lovers, of children. Moving beyond a longing for the ‘lost alternatives’ of twentieth-century socialism, new collective sensibilities are bound to emerge in this context.47 Perhaps it is here, at these human points of interconnection across vast distances, diverse landscapes and cultures, that we can locate a form of the political oriented towards a different future. Notes
year Algiers hosted the First Pan-African Cultural Festival, which received delegations from the lusophone liberation movements as well as from independent states across the continent, and through which Algeria sought to assert itself as a center for a new militant Pan-Africanism. 11 Anon (1976: 235). 12 Ibid., pp. 235–6. 13 ‘Resolution of the Third World Film-Makers Meeting’, Algiers, 1973. Reprinted in Teshome Gabriel (1982: 103–7). 14 Ousmane Sembène (1975: 2). 15 Hannah Arendt’s theoretical
an innocent man is turned into a crazed child killer through newsroom post-production. Although set in Gjirokastër during the chaos following the fall of the 1997 pyramid scheme, Magic Eye’s indictment of irresponsible journalism is indeed universal. From the majority of the above-mentioned films, we note that Albanian film is closely tied to the nation’s historical context, however this is understood or interpreted. To this effect, Dina Iordanova (2001) has argued for a contextual approach to
relationships’, including that between the base and the superstructure as previously defined.3 The stress on absence means that this relationship pertains to the ‘political unconscious’, and can no longer be conceived as dialectical.4 A more appropriate model is Gilles Deleuze’s ‘crystal image’, in which the ‘smallest circuit’ that defines the interstitial correspondence of the actual image to its virtual image replaces the Hegelian totality as the cause or the ‘social whole’. With the crystal