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.