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1

К проблеме современного милитаризма. Как российская кинематография «освоила» чеченский конфликт

100%

Kajtoch W.

Przegląd Wschodnioeuropejski

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2013

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vol. 4

365-391

EN

In the article, the author analyses 19 feature movies and TV series produced from 1996 to 2010 by Russians and dedicated to Chechnya. The main observation is that during that time the approach to this particular subject was changing. The movies made in the years 1996-98, right after the Russian army had lost the socalled First Chechen War, propagated pacifistic ideas or suggested messianic explanation of those events. However, the movies made during the Second Chechen War (1999-2006) were dominated by praise for the Russian soldier as a defender of true Russian national and orthodox traditions. A picture of the enemy changed as well: no longer was it a Chechen, but an international Muslim terrorist. Finally, after 2006, Russian film industry started creating more profound, realistic movies, some of which focused on more universal moral problems.

2

Wężowe źródło Nikołaja Lebiediewa a konwencja gatunkowa slashera

100%

Cybulski M.

Acta Polono-Ruthenica

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2019

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vol. Tom 3 Nr XXIV

85-100

EN

This article is an attempt to determine whether the successful film Snake Spring, directed by Nikolai Lebedev, can be considered the first slasher of Russian production. Slasher, as a subgenre of horror films, is not a typical phenomenon in Russian cinematography (or even more so Soviet), and its roots should be sought primarily in American culture and filmography.In this text, the author, first of all, focuses on the slasher as such, presents his distinguishing features and lists the most important pictures of the world’s cinematography representing this par-ticular subgenre.

3

Czy w ZSRR kręcono thrillery?

100%

Cybulski M.

Acta Polono-Ruthenica

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2018

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vol. Tom 1 Nr XXIII

51-64

EN

This article is an attempt to answer the question whether, in the specific conditions in which thecinematography of the Soviet Union was created and developed, we can talk about the productionof thrillers. The notion of the thriller is considered and attention is paid to the problem of the definitionof the term itself and the fact that some researchers do not treat the thriller as a genre at all.The thriller, associated by the Soviet decision-makers with Western culture (and thus also American),was perceived as a bourgeois creation, which made it an undesirable genre in the Soviet Union.Nevertheless, for many years immediately after the end of World War II and at the very end of theexistence of the historical empire, a series of films were created and they could be called thrillers inthe general modern sense of the word. Titles of Soviet films created in the years 1947–1991 havebeen chosen from the rich resources of cinematography of our eastern neighbours. At the cinemahistorian’s workshop, there were both images of well-known and popular Soviet directors(Boris Barnet, Stanisław Goworouchin, Eldar Riazanow), as well as slightly less known personalities,(Gieorgij Nikulin, Boris Durow).

4

From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination

58%

Khomenko N.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2021

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vol. 23

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issue 38

75-89

EN

Othello was the most often-staged Shakespeare play on early Soviet stages, to a large extent because of its ideological utility. Interpreted with close attention to racial conflict, this play came to symbolize, for Soviet theatres and audiences, the destructive racism of the West in contrast with Soviet egalitarianism. In the first decades of the twenty-first century, however, it is not unusual for Russian theatres to stage Othello as a white character, thus eliminating the theme of race from the productions. To make sense of the change in the Russian tradition of staging Othello, this article traces the interpretations and metatheatrical uses of this character from the early Soviet period to the present day. I argue that the Soviet tradition of staging Othello in blackface effectively prevented the use of the play for exploring the racial tensions within the Soviet Union itself, and gradually transformed the protagonist’s blackness into a generalized metaphor of oppression. As post-collapse Russia embraced whiteness as a category, Othello’s blackness became a prop that was entirely decoupled from race and made available for appropriation by ethnically Slavic actors and characters. The case of Russia demonstrates that staging Othello in blackface, even when the initial stated goals are those of racial equality, can serve a cultural fantasy of blackness as a versatile and disposable mask placed over a white face.

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2 Acta Polono-Ruthenica

1 Multicultural Shakespeare: Translation, Appropriation and Performance

1 Przegląd Wschodnioeuropejski

1 2021

1 2019

1 2018

1 2013

2 Cybulski M.

1 Kajtoch W.

1 Khomenko N.

К проблеме современного милитаризма. Как российская кинематография «освоила» чеченский конфликт

Wężowe źródło Nikołaja Lebiediewa a konwencja gatunkowa slashera

Czy w ZSRR kręcono thrillery?

From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination