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This is the first book to explore the phenomenon of glamour and
celebrity in contemporary Russian culture, ranging across media
forms, disciplinary boundaries and modes of inquiry, with
particular emphasis on the media personality. The book demonstrates
how the process of 'celebrification' in Russia coincides with the
dizzying pace of social change and economic transformation, the
latter enabling an unprecedented fascination with glamour and its
requisite extravagance; how in the 1990s and 2000s, celebrities -
such as film or television stars - moved away from their home
medium to become celebrities straddling various media; and how
celebrity is a symbol manipulated by the dominant culture and
embraced by the masses. It examines the primacy of the visual in
celebrity construction and its dominance over the verbal, alongside
the interdisciplinary, cross-media, post-Soviet landscape of
today's fame culture. Taking into account both general tendencies
and individual celebrities, including pop-diva Alla Pugacheva and
ex-President and current Prime Minister Vladimir Putin, the book
analyses the internal dynamics of the institutions involved in the
production, marketing, and maintenance of celebrities, as well as
the larger cultural context and the imperatives that drive Russian
society's romance with glamour and celebrity.
Privileging the visual as the main method of communication and
meaning-making, this book responds critically to the worldwide
discussion about the Arctic and the North, addressing the
interrelated issues of climate change, ethics and geopolitics. A
multi-disciplinary, multi-modal exploration of the Arctic, it
supplies an original conceptualization of the Arctic as a visual
world encompassing an array of representations, imaginings, and
constructions. By examining a broad range of visual forms, media
and forms such as art, film, graphic novels, maps, media, and
photography, the book advances current debates about visual
culture. The book enriches contemporary theories of the visual
taking the Arctic as a spatial entity and also as a mode of
exploring contemporary and historical visual practices, including
imaginary constructions of the North. Original contributions
include case studies from all the countries along the Arctic shore,
with Russian material occupying a large section due to the
country’s impact on the region
Privileging the visual as the main method of communication and
meaning-making, this book responds critically to the worldwide
discussion about the Arctic and the North, addressing the
interrelated issues of climate change, ethics and geopolitics. A
multi-disciplinary, multi-modal exploration of the Arctic, it
supplies an original conceptualization of the Arctic as a visual
world encompassing an array of representations, imaginings, and
constructions. By examining a broad range of visual forms, media
and forms such as art, film, graphic novels, maps, media, and
photography, the book advances current debates about visual
culture. The book enriches contemporary theories of the visual
taking the Arctic as a spatial entity and also as a mode of
exploring contemporary and historical visual practices, including
imaginary constructions of the North. Original contributions
include case studies from all the countries along the Arctic shore,
with Russian material occupying a large section due to the
country's impact on the region
This book brings together scholars from across a variety of
disciplines who use different methodologies to interrogate the
changing nature of Russian culture in the twenty-first century. The
book considers a wide range of cultural forms that have been
instrumental in globalizing Russia. These include literature, art,
music, film, media, the internet, sport, urban spaces, and the
Russian language. The book pays special attention to the processes
by which cultural producers negotiate between Russian government
and global cultural capital. It focuses on the issues of canon,
identity, soft power and cultural exchange. The book provides a
conceptual framework for analyzing Russia as a transnational entity
and its contemporary culture in the globalized world.
This book brings together scholars from across a variety of
academic disciplines to assess the current state of the subfield of
popular geopolitics. It provides an archaeology of the field, maps
the flows of various frameworks of analysis into (and out of)
popular geopolitics, and charts a course forward for the
discipline. It explores the real-world implications of popular
culture, with a particular focus on the evolving interdisciplinary
nature of popular geopolitics alongside interrelated disciplines
including media, cultural, and gender studies.
This book brings together scholars from across a variety of
academic disciplines to assess the current state of the subfield of
popular geopolitics. It provides an archaeology of the field, maps
the flows of various frameworks of analysis into (and out of)
popular geopolitics, and charts a course forward for the
discipline. It explores the real-world implications of popular
culture, with a particular focus on the evolving interdisciplinary
nature of popular geopolitics alongside interrelated disciplines
including media, cultural, and gender studies.
This volume offers an in-depth investigation of the role of new
media in the political, social and cultural life in the region of
Europe-Asia. By focusing on new media, which is understood
primarily as internet-enabled networked social practice, the book
puts forward a political and cultural redefinition of the region
which is determined by the recognition of the diversity of new
media uses in the countries included in the study. This book
focuses on the period prior to the advent of 'world internet
revolutions', and it registers the region at its pivotal moment-at
the time of its entry into the post-broadcast era. Does the
Internet aid democratisation or it conditioned by socio-political
norms? Has the Internet changed politics or has it had to fit
existing political structures? Has the use of digital technologies
revolutionized election campaigns? How is hyperlinked society
different from society prior to the advent of the web? How do
ordinary people actually use the Internet. These and other pressing
questions - crucial to understanding the post-socialist world - are
investigated in the current volume. This book was published as a
special issue of Europe-Asia Studies.
Among the many successes of the Soviet Union were inaugural space
flight-ahead of the United States-and many other triumphs related
to aviation. Aviators and cosmonauts enjoyed heroic status in the
Soviet Union, and provided supports of the Soviet project with
iconic figures which could be used to bolster the regime's visions,
self-confidence, and the image of itself as forward looking and
futuristic. This book explores how the themes of aviation and space
flight have been depicted in film, animation, art, architecture,
and digital media. Incorporating many illustrations, the book
covers a wide range of subjects, including the representations of
heroes, the construction of myths, and the relationship between
visual art forms and Soviet/Russian culture and society.
This volume offers an in-depth investigation of the role of new
media in the political, social and cultural life in the region of
Europe-Asia. By focusing on new media, which is understood
primarily as internet-enabled networked social practice, the book
puts forward a political and cultural redefinition of the region
which is determined by the recognition of the diversity of new
media uses in the countries included in the study. This book
focuses on the period prior to the advent of 'world internet
revolutions', and it registers the region at its pivotal moment-at
the time of its entry into the post-broadcast era. Does the
Internet aid democratisation or it conditioned by socio-political
norms? Has the Internet changed politics or has it had to fit
existing political structures? Has the use of digital technologies
revolutionized election campaigns? How is hyperlinked society
different from society prior to the advent of the web? How do
ordinary people actually use the Internet. These and other pressing
questions - crucial to understanding the post-socialist world - are
investigated in the current volume. This book was published as a
special issue of Europe-Asia Studies.
The volume is the first study to explore the intersection of memory
and securitisation in the European context. By analysing a variety
of practices ranging from film to art and new media, the book
expands the existing theoretical framework of securitisation. The
authors consider memory as a precondition for contemporary
integration projects such as the European Union, and also showcase
how memory is used to stage international conflicts. Following this
memory-securitisation nexus, the European Union, and Europe more
generally, emerges as an on-going cultural, political and social
project. The book also examines developments outside the EU such as
the conflict in Ukraine and the creation of the Eurasian Economic
Union, which, the authors argues, have a profound impact on Europe.
From a consideration of historical contexts such as national
referenda the discussion proceeds to media and film analysis,
artistic practice and more transient phenomena such as climate
change.
The volume is the first study to explore the intersection of memory
and securitisation in the European context. By analysing a variety
of practices ranging from film to art and new media, the book
expands the existing theoretical framework of securitisation. The
authors consider memory as a precondition for contemporary
integration projects such as the European Union, and also showcase
how memory is used to stage international conflicts. Following this
memory-securitisation nexus, the European Union, and Europe more
generally, emerges as an on-going cultural, political and social
project. The book also examines developments outside the EU such as
the conflict in Ukraine and the creation of the Eurasian Economic
Union, which, the authors argues, have a profound impact on Europe.
From a consideration of historical contexts such as national
referenda the discussion proceeds to media and film analysis,
artistic practice and more transient phenomena such as climate
change.
Among the many successes of the Soviet Union were inaugural space
flight-ahead of the United States-and many other triumphs related
to aviation. Aviators and cosmonauts enjoyed heroic status in the
Soviet Union, and provided supports of the Soviet project with
iconic figures which could be used to bolster the regime's visions,
self-confidence, and the image of itself as forward looking and
futuristic. This book explores how the themes of aviation and space
flight have been depicted in film, animation, art, architecture,
and digital media. Incorporating many illustrations, the book
covers a wide range of subjects, including the representations of
heroes, the construction of myths, and the relationship between
visual art forms and Soviet/Russian culture and society.
This book brings together scholars from across a variety of
disciplines who use different methodologies to interrogate the
changing nature of Russian culture in the twenty-first century. The
book considers a wide range of cultural forms that have been
instrumental in globalizing Russia. These include literature, art,
music, film, media, the internet, sport, urban spaces, and the
Russian language. The book pays special attention to the processes
by which cultural producers negotiate between Russian government
and global cultural capital. It focuses on the issues of canon,
identity, soft power and cultural exchange. The book provides a
conceptual framework for analyzing Russia as a transnational entity
and its contemporary culture in the globalized world.
This is the first book to explore the phenomenon of glamour and
celebrity in contemporary Russian culture, ranging across media
forms, disciplinary boundaries and modes of inquiry, with
particular emphasis on the media personality. The book demonstrates
how the process of 'celebrification' in Russia coincides with the
dizzying pace of social change and economic transformation, the
latter enabling an unprecedented fascination with glamour and its
requisite extravagance; how in the 1990s and 2000s, celebrities -
such as film or television stars - moved away from their home
medium to become celebrities straddling various media; and how
celebrity is a symbol manipulated by the dominant culture and
embraced by the masses. It examines the primacy of the visual in
celebrity construction and its dominance over the verbal, alongside
the interdisciplinary, cross-media, post-Soviet landscape of
today's fame culture. Taking into account both general tendencies
and individual celebrities, including pop-diva Alla Pugacheva and
ex-President and current Prime Minister Vladimir Putin, the book
analyses the internal dynamics of the institutions involved in the
production, marketing, and maintenance of celebrities, as well as
the larger cultural context and the imperatives that drive Russian
society's romance with glamour and celebrity.
One of the first books to explore Russian cinema in the new
millennium, this volume captures the emergence of a new cinematic
sensibility and interprets it through the framework of the symbolic
mode. Analysing films by established directors such as Sokurov,
Zviagintsev and Zel'dovich, as well as lesser-known filmmakers like
Balabanov, Fedorchenko and Kalatozishvili, Contemporary Russian
Cinema: Symbols of a New Era explores the particular style of film
presentation that has emerged in Russia since 2000, characterised
by its use of highly abstract concepts and visual language. Whether
directed towards a mystical world, or even towards an afterlife,
the symbolic mode defines the emergence of a specific mindscape
which has escaped previous representational forms and is
intrinsically linked to Russia's dramatic political and economic
development since the turn of the 21st century.
One of the first books to explore Russian cinema in the new
millennium, this volume captures the emergence of a new cinematic
sensibility and interprets it through the framework of the symbolic
mode. Analysing films by established directors such as Sokurov,
Zviagintsev and Zel'dovich, as well as lesser-known filmmakers like
Balabanov, Fedorchenko and Kalatozishvili, Contemporary Russian
Cinema explores the particular style of film presentation that has
emerged in Russia since 2000, characterised by its use of highly
abstract concepts and visual language. Whether directed towards a
mystical world, or even towards an afterlife, the symbolic mode
defines the emergence of a specific mindscape which has escaped
previous representational forms, and is intrinsically linked to
Russia's dramatic political and economic development since the turn
of the twenty-first century.
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