This book examines the fate of post-Soviet press freedom and media culture in the context of the growing impact of globalisation. To understand the complicated situation that has arisen with respect to these issues in post-Soviet space is impossible without collaboration between political scientists, sociologists, cultural analysts, media studies researchers and media practitioners. The book is one of the first attempts to bridge the gaps between political and cultural studies approaches, between textual analysis and audience research, as well as between practitioner-led and scholarly approaches to the post-Soviet media The cumulative impact of the essays contained in this section is to reinforce the intuition which inspired it: that the post-Soviet media remain a highly heterogeneous, complex and dynamic field for investigation. With contributions from scholars and journalists across Europe (including the former Soviet Union), the collection addresses such issues as censorship and elections, the legacy of the Soviet past, terrorism and the media, the post-Soviet business press, advertising and nation building, official press discourse and entrepreneurship, and global formats on Russian television. This book was originally published as a special issue of Europe-Asia Studies.

This book examines the fate of post-Soviet press freedom and media culture in the context of the growing impact of globalisation. To understand the complicated situation that has arisen with respect to these issues in post-Soviet space is impossible without collaboration between political scientists, sociologists, cultural analysts, media studies researchers and media practitioners. The book is one of the first attempts to bridge the gaps between political and cultural studies approaches, between textual analysis and audience research, as well as between practitioner-led and scholarly approaches to the post-Soviet media The cumulative impact of the essays contained in this section is to reinforce the intuition which inspired it: that the post-Soviet media remain a highly heterogeneous, complex and dynamic field for investigation. With contributions from scholars and journalists across Europe (including the former Soviet Union), the collection addresses such issues as censorship and elections, the legacy of the Soviet past, terrorism and the media, the post-Soviet business press, advertising and nation building, official press discourse and entrepreneurship, and global formats on Russian television.

This book was originally published as a special issue of Europe-Asia Studies.

This book presents a new perspective on how Russia projects itself to the world. Distancing itself from familiar, agency-driven International Relations accounts that focus on what ‘the Kremlin’ is up to and why, it argues for the need to pay attention to deeper, trans-state processes over which the Kremlin exerts much less control. Especially important in this context is mediatization, defined as the process by which contemporary social and political practices adopt a media form and follow media-driven logics. In particular, the book emphasizes the logic of the feedback loop or ‘recursion’, showing how it drives multiple Russian performances of national belonging and nation projection in the digital era. It applies this theory to recent issues, events, and scandals that have played out in international arenas ranging from television, through theatre, film, and performance art, to warfare.

This book presents a new perspective on how Russia projects itself to the world. Distancing itself from familiar, agency-driven International Relations accounts that focus on what 'the Kremlin' is up to and why, it argues for the need to pay attention to deeper, trans-state processes over which the Kremlin exerts much less control. Especially important in this context is mediatization, defined as the process by which contemporary social and political practices adopt a media form and follow media-driven logics. In particular, the book emphasizes the logic of the feedback loop or 'recursion', showing how it drives multiple Russian performances of national belonging and nation projection in the digital era. It applies this theory to recent issues, events, and scandals that have played out in international arenas ranging from television, through theatre, film, and performance art, to warfare.

Russia, one of the most ethno-culturally diverse countries in the world, provides a rich case study on how globalisation and associated international trends are disrupting, and causing the radical rethinking of approaches to, inter-ethnic cohesion. The book highlights the importance of television broadcasting in shaping national discourse and the place of ethno-cultural diversity within it. It argues that television's role here has been reinforced, rather than diminished, by the rise of new media technologies. Through an analysis of a wide range of news and other television programmes, the book shows how the covert meanings of discourse on a particular issue can diverge from the overt significance attributed to it, just as the impact of that discourse may not conform with the original aims of the broadcasters. The book discusses the tension between the imperative to maintain security through centralised government and overall national cohesion that Russia shares with other European states, and the need to remain sensitive to, and to accommodate, the needs and perspectives of ethnic minorities and labour migrants. It compares the increasingly isolationist popular ethnonationalism in Russia, which harks back to "old-fashioned" values, with the similar rise of the Tea Party in the United States and the UK Independence Party in Britain. Throughout, this extremely rich, well-argued book complicates and challenges received wisdom on Russia's recent descent into authoritarianism. It points to a regime struggling to negotiate the dilemmas it faces, given its Soviet legacy of ethnic particularism, weak civil society, large native Muslim population and overbearing, yet far from entirely effective, state control of the media.

Russia, one of the most ethno-culturally diverse countries in the world, provides a rich case study on how globalisation and associated international trends are disrupting, and causing the radical rethinking of approaches to, inter-ethnic cohesion. The book highlights the importance of television broadcasting in shaping national discourse and the place of ethno-cultural diversity within it. It argues that television's role here has been reinforced, rather than diminished, by the rise of new media technologies. Through an analysis of a wide range of news and other television programmes, the book shows how the covert meanings of discourse on a particular issue can diverge from the overt significance attributed to it, just as the impact of that discourse may not conform with the original aims of the broadcasters. The book discusses the tension between the imperative to maintain security through centralised government and overall national cohesion that Russia shares with other European states, and the need to remain sensitive to, and to accommodate, the needs and perspectives of ethnic minorities and labour migrants. It compares the increasingly isolationist popular ethnonationalism in Russia, which harks back to "old-fashioned" values, with the similar rise of the Tea Party in the United States and the UK Independence Party in Britain. Throughout, this extremely rich, well-argued book complicates and challenges received wisdom on Russia's recent descent into authoritarianism. It points to a regime struggling to negotiate the dilemmas it faces, given its Soviet legacy of ethnic particularism, weak civil society, large native Muslim population and overbearing, yet far from entirely effective, state control of the media.

This book explores developments in the Russian mass media since the collapse of the USSR in 1991. Complementing and building upon its companion volume, Television and Culture in Putin's Russia: Remote Control, it traces the tensions resulting from the effective return to state-control under Putin of a mass media privatised and accorded its first, limited, taste of independence in the Yeltsin period. It surveys the key developments in Russian media since 1991, including the printed press, television and new media, and investigates the contradictions of the post-Soviet media market that have affected the development of the media sector in recent years. It analyses the impact of the Putin presidency, including the ways in which the media have constructed Putin s image in order to consolidate his power and their role in securing his election victories in 2000 and 2004. It goes on to consider the status and function of journalism in post-Soviet Russia, discussing the conflict between market needs and those of censorship, the gulf that has arisen separating journalists from their audiences. The relationship between television and politics is examined, and also the role of television as entertainment, as well as its role in nation building and the projection of a national identity. Finally, it appraises the increasingly important role of new media and the internet. Overall, this book is a detailed investigation of the development of mass media in Russia since the end of Communism and the collapse of the Soviet Union.

This book examines television culture in Russia under the government of Vladimir Putin. In recent years, the growing influx into Russian television of globally mediated genres and formats has coincided with a decline in media freedom and a ratcheting up of government control over the content style of television programmes. All three national channels (First, Russia, NTV) have fallen victim to Putin's power-obsessed regime. Journalists critical of his Chechnya policy have been subject to harassment and arrest; programmes courting political controversy, such as Savik Shuster's Freedom of Speech (Svoboda slova) have been taken off the air; coverage of national holidays like Victory Day has witnessed a return of Soviet-style bombast; and reporting on crises, such as the Beslan tragedy, is severely curtailed. The book demonstrates how broadcasters have been enlisted in support of a transparent effort to install a latter-day version of imperial pride in Russian military achievements at the centre of a national identity project over which, from the depths of the Kremlin, Putin's government exerts a form of remote control. However, central to the book's argument is the notion that because of the changes wrought upon Russian society after 1985, a blanket return to the totalitarianism of the Soviet media has, notwithstanding the tenor of much western reporting on the issue, not occurred. Despite the fact that television is nominally under state control, that control remains remote and less than wholly effective, as amply demonstrated in the audience research conducted for the book, and in analysis of contradictions at the textual level. Overall, this book provides a fascinating account of the role of television under President Putin, and will be of interest to all those wishing to understand contemporary Russian society.

Providing many interesting case studies and bringing together many leading authorities on the subject, this book examines the importance of film adaptations of literature in Russian cinema, especially during the Soviet period when the cinema was accorded a vital role in imposing the authority of the communist regime on the consciousness of the Soviet people.

This book explores how one of the world's most literary-oriented societies entered the modern visual era, beginning with the advent of photography in the nineteenth century, focusing then on literature's role in helping to shape cinema as a tool of official totalitarian culture during the Soviet period, and concluding with an examination of post-Soviet Russia's encounter with global television. As well as pioneering the exploration of this important new area in Slavic Studies, the book illuminates aspects of cultural theory by investigating how the Russian case affects general notions of literature's fate within post-literate culture, the ramifications of communism's fall for media globalization, and the applicability of text/image models to problems of intercultural change.

This book explores developments in the Russian mass media since the collapse of the USSR in 1991. Complementing and building upon its companion volume, Television and Culture in Putin's Russia: Remote Control, it traces the tensions resulting from the effective return to state-control under Putin of a mass media privatised and accorded its first, limited, taste of independence in the Yeltsin period. It surveys the key developments in Russian media since 1991, including the printed press, television and new media, and investigates the contradictions of the post-Soviet media market that have affected the development of the media sector in recent years. It analyses the impact of the Putin presidency, including the ways in which the media have constructed Putin's image in order to consolidate his power and their role in securing his election victories in 2000 and 2004. It goes on to consider the status and function of journalism in post-Soviet Russia, discussing the conflict between market needs and those of censorship, the gulf that has arisen separating journalists from their audiences. The relationship between television and politics is examined, and also the role of television as entertainment, as well as its role in nation building and the projection of a national identity. Finally, it appraises the increasingly important role of new media and the internet. Overall, this book is a detailed investigation of the development of mass media in Russia since the end of Communism and the collapse of the Soviet Union.

This book examines the importance of film adaptations of literature in Russian cinema, especially during the Soviet period when the cinema was accorded a vital role in imposing the authority of the communist regime on the consciousness of the Soviet people. The book provides many interesting case studies and brings together many leading authorities on the subject.

This book explores how one of the world's most literary-oriented societies entered the modern visual era, beginning with the advent of photography in the nineteenth century, focusing then on literature's role in helping to shape cinema as a tool of official totalitarian culture during the Soviet period, and concluding with an examination of post-Soviet Russia's encounter with global television. As well as pioneering the exploration of this important new area in Slavic Studies, the book illuminates aspects of cultural theory by investigating how the Russian case affects general notions of literature's fate within post-literate culture, the ramifications of communism's fall for media globalization, and the applicability of text/image models to problems of intercultural change.

This book examines television culture in Russia under the government of Vladimir Putin. In recent years, the growing influx into Russian television of globally mediated genres and formats has coincided with a decline in media freedom and a ratcheting up of government control over the content style of television programmes. All three national channels (First, Russia, NTV) have fallen victim to Putin's power-obsessed regime. Journalists critical of his Chechnya policy have been subject to harassment and arrest; programmes courting political controversy, such as Savik Shuster's Freedom of Speech (Svoboda slova) have been taken off the air; coverage of national holidays like Victory Day has witnessed a return of Soviet-style bombast; and reporting on crises, such as the Beslan tragedy, is severely curtailed. The book demonstrates how broadcasters have been enlisted in support of a transparent effort to install a latter-day version of imperial pride in Russian military achievements at the centre of a national identity project over which, from the depths of the Kremlin, Putin's government exerts a form of remote control. However, central to the book's argument is the notion that because of the changes wrought upon Russian society after 1985, a blanket return to the totalitarianism of the Soviet media has, notwithstanding the tenor of much western reporting on the issue, not occurred. Despite the fact that television is nominally under state control, that control remains remote and less than wholly effective, as amply demonstrated in the audience research conducted for the book, and in analysis of contradictions at the textual level. Overall, this book provides a fascinating account of the role of television under President Putin, and will be of interest to all those wishing to understand contemporary Russian society.

Transnational Russian Studies offers an approach to understanding Russia based on the idea that language, society and culture do not neatly coincide, but should be seen as flows of meaning across ever-shifting boundaries. Our book moves beyond static conceptions of Russia as a discrete nation with a singular language, culture, and history. Instead, we understand it as a multinational society that has perpetually redefined Russianness in reaction to the wider world. We treat Russian culture as an expanding field, whose sphere of influence transcends the geopolitical boundaries of the Russian Federation, reaching as far as London, Cape Town, and Tehran. Our transnational approach to Russian Studies generates new perspectives on the history of Russian culture and its engagements with, and transformation by, other cultures. The volume thereby simultaneously illuminates broader conceptions of the transnational from the perspective of Russian Studies. Over twenty chapters, we provide case studies based on original research, treating topics that include Russia's imperial and postcolonial entanglements; the paradoxical role that language plays in both defining culture in national terms, and facilitating transnational communication; the life of things 'Russian' in the global arena; and Russia's positioning in the contemporary globalized world. Our volume is aimed primarily at students and researchers in Russian Studies, but it will also be relevant to all Modern Linguists, and to those who employ transnational paradigms within the broader humanities. Contributors: Amelia M. Glaser, Cathy McAteer, Connor Doak, Dusan Radunovic, Ellen Rutten, Galin Tihanov, Jeanne-Marie Jackson, Julie Curtis, Lara Ryazanova-Clarke, Marijeta Bozovic, Michael Gorham, Olga Maiorova, Philip Ross Bullock, Sergey Tyulenev, Stephen Hutchings, Stephen M. Norris, Tatiana Filimonova, Vera Tolz, Vitaly Nuriev and Vlad Strukov.

Transnational Russian Studies offers an approach to understanding Russia based on the idea that language, society and culture do not neatly coincide, but should be seen as flows of meaning across ever-shifting boundaries. Our book moves beyond static conceptions of Russia as a discrete nation with a singular language, culture, and history. Instead, we understand it as a multinational society that has perpetually redefined Russianness in reaction to the wider world. We treat Russian culture as an expanding field, whose sphere of influence transcends the geopolitical boundaries of the Russian Federation, reaching as far as London, Cape Town, and Tehran. Our transnational approach to Russian Studies generates new perspectives on the history of Russian culture and its engagements with, and transformation by, other cultures. The volume thereby simultaneously illuminates broader conceptions of the transnational from the perspective of Russian Studies. Over twenty chapters, we provide case studies based on original research, treating topics that include Russia's imperial and postcolonial entanglements; the paradoxical role that language plays in both defining culture in national terms, and facilitating transnational communication; the life of things 'Russian' in the global arena; and Russia's positioning in the contemporary globalized world. Our volume is aimed primarily at students and researchers in Russian Studies, but it will also be relevant to all Modern Linguists, and to those who employ transnational paradigms within the broader humanities. Contributors: Amelia M. Glaser, Cathy McAteer, Connor Doak, Dusan Radunovic, Ellen Rutten, Galin Tihanov, Jeanne-Marie Jackson, Julie Curtis, Lara Ryazanova-Clarke, Marijeta Bozovic, Michael Gorham, Olga Maiorova, Philip Ross Bullock, Sergey Tyulenev, Stephen Hutchings, Stephen M. Norris, Tatiana Filimonova, Vera Tolz, Vitaly Nuriev and Vlad Strukov.