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This book, the first of a two-volume set, focuses on the basic
physical principles of blackbody radiometry and describes
artificial sources of blackbody radiation, widely used as sources
of optical radiation, whose energy characteristics can be
calculated on the base of fundamental physical laws. Following a
review of radiometric quantities, radiation laws, and radiative
heat transfer, it introduces the basic principles of blackbody
radiators design, details of their practical implementation, and
methods of measuring their defining characteristics, as well as
metrological aspects of blackbody-based measurements. Chapters are
dedicated to the effective emissivity concept, methods of
increasing effective emissivities, their measurement and modeling
using the Monte Carlo method, techniques of blackbody radiators
heating, cooling, isothermalization, and measuring their
temperature. An extensive and comprehensive reference source, this
book is of considerable value to students, researchers, and
engineers involved in any aspect of blackbody radiometry.
Russian TV Series in the Era of Transition examines contemporary
Russian television genres in the age of transition from broadcast
to post-broadcast television. Focusing on critical debates and the
most significant TV series of the past two decades, the volume's
contributors-the leading US and European scholars studying Russian
television, as well as the leading Russian TV producers and
directors-focus on three major issues: Russian television's
transition to digital post-broadcast economy, which redefined the
media environment; Russian television's integration into global
television markets and their genre systems; and major changes in
the representation of gender and sexuality on Russian television.
Cinemasaurus examines contemporary Russian cinema as a new visual
economy, emerging over three decades after the Soviet collapse.
Focusing on debates and films exhibited at Russian and US public
festivals where the films have premiered, the volume's
contributors-the new generation of US scholars studying Russian
cinema-examine four issues of Russia's transition: (1) its imperial
legacy, (2) the emergence of a film market and its new genres, (3)
Russia's uneven integration into European values and hierarchies,
(4) the renegotiation of state power vis-a-vis arthouse and
independent cinemas. An introductory essay frames each of the four
sections, with 90 films total under discussion, concluding with a
historical timeline and five interviews of key film-industry
figures formative of the historical context.
Cinemasaurus examines contemporary Russian cinema as a new visual
economy, emerging over three decades after the Soviet collapse.
Focusing on debates and films exhibited at Russian and US public
festivals where the films have premiered, the volume's
contributors-the new generation of US scholars studying Russian
cinema-examine four issues of Russia's transition: (1) its imperial
legacy, (2) the emergence of a film market and its new genres, (3)
Russia's uneven integration into European values and hierarchies,
(4) the renegotiation of state power vis-a-vis arthouse and
independent cinemas. An introductory essay frames each of the four
sections, with 90 films total under discussion, concluding with a
historical timeline and five interviews of key film-industry
figures formative of the historical context.
Russian TV Series in the Era of Transition examines contemporary
Russian television genres in the age of transition from broadcast
to post-broadcast television. Focusing on critical debates and the
most significant TV series of the past two decades, the volume's
contributors-the leading US and European scholars studying Russian
television, as well as the leading Russian TV producers and
directors-focus on three major issues: Russian television's
transition to digital post-broadcast economy, which redefined the
media environment; Russian television's integration into global
television markets and their genre systems; and major changes in
the representation of gender and sexuality on Russian television.
Most histories of Soviet cinema portray the 1970s as a period of
stagnation with the gradual decline of the film industry. This
book, however, examines Soviet film and television of the era as
mature industries articulating diverse cultural values via new
genre models. During the 1970s, Soviet cinema and television
developed a parallel system of genres where television texts
celebrated conservative consensus while films manifested symptoms
of ideological and social crises. The book examines the genres of
state-sponsored epic films, police procedural, comedy and
melodrama, and outlines how television gradually emerged as the
major form of Russo-Soviet popular culture. Through close analysis
of well-known film classics of the period as well as less familiar
films and television series, this groundbreaking work helps to
deconstruct the myth of this era as a time of cultural and economic
stagnation and also helps us to understand the persistence of this
myth in the collective memory of Putin-era Russia. This monograph
is the first book-length English-language study of film and
television genres of the late Soviet era.
Most histories of Soviet cinema portray the 1970s as a period of
stagnation with the gradual decline of the film industry. This
book, however, examines Soviet film and television of the era as
mature industries articulating diverse cultural values via new
genre models. During the 1970s, Soviet cinema and television
developed a parallel system of genres where television texts
celebrated conservative consensus while films manifested symptoms
of ideological and social crises. The book examines the genres of
state-sponsored epic films, police procedural, comedy and
melodrama, and outlines how television gradually emerged as the
major form of Russo-Soviet popular culture. Through close analysis
of well-known film classics of the period as well as less familiar
films and television series, this groundbreaking work helps to
deconstruct the myth of this era as a time of cultural and economic
stagnation and also helps us to understand the persistence of this
myth in the collective memory of Putin-era Russia. This monograph
is the first book-length English-language study of film and
television genres of the late Soviet era.
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