Postcommunist Film Russia Eastern Europe And World Culture

A post-communist condition has arisen from the fall of the Berlin Wall and later the Soviet Empire: this book looks at how this condition has manifested itself globally in the production of post-communist film. It argues post-communism is a shared experience on a geopolitical level, unlimited by national state borders, and examines post-communist cross culturalism and global totalitarianism within film. The book examines different national cinemas and dissimilar cinematic modes - from Russian blockbuster cinema to Chinese independent cinema; from Serbian city films to revolutionary films of Mozambique - all formulated as within the postcommunist condition. It considers the postcommunist film in terms of transnational and World cinema. It covers a wide range of films from small and independent filmmaking to mainstream, popular cinema, and explains post-communist signifiers as manifested in visual culture both inside and outside former, and current, communist countries.

This book examines how membership of the European Union has affected life in the ten former communist countries of Eastern Europe that are now members of the European Union. For each country, political, economic and social changes are described and discussed, together with people's perceptions of the effects of EU membership. Overall, the book shows how the benefits of EU membership have differed between different countries, and how perceptions about the benefits also differ and have changed over time.

Bringing together a range of theoretical and critical approaches, this edited collection is the first book to examine representations of the body in Eastern European and Russian cinema after the Second World War. Drawing on the history of the region, as well as Western and Eastern scholarship on the body, the book focuses on three areas: the traumatized body, the body as a site of erotic pleasure, and the relationship between the body and history. Critically dissecting the different ideological and aesthetic ways human bodies are framed, The Cinematic Bodies of Eastern Europe and Russia also demonstrates how bodily discourses oscillate between complicity and subversion, and how they shaped individuals and societies both during and after the period of state socialism.

It is a widely held idea that Russia has completed its revolution which brought down the Soviet economy, and that many companies after privatisation work as typical western companies. Another belief is that Russia has adopted a market economy but then reverted to authoritarianism. With these two ideas in mind, this book discusses the suggestion that the key element of post-Soviet economic and political reforms in the last two decades was the redistribution of assets from the state to oligarchs and the new elite. It looks at why most Russian companies could not achieve strong long–run corporate performance by analysing in detail a range of different Russian companies. The book is a useful tool for understanding the future prospects for Russian business.

Business leaders exert extraordinary influence on institution building in market economies but they think and act within institutional settings. This book combines both an elite approach with a varieties-of-capitalism approach. Comparing Poland, Hungary and East and West Germany, we perceive the transformations in East Central Europe and in Germany after 1989 as being intertwined. Based on a joint survey, this book seeks to measure the level of the convergence of ideas among European business leaders, assuming it to be more extensive than the institutional convergence expected under the dominance of neoliberal discourse. Analyzing the institutional framework, organizational features like size, ownership and labour relations, and subjective characteristics like age, social origin, career patterns and attitudes of the recent business elites, we found significant differences between countries and the types of organization. The growing importance of economic degrees and internationalization shows astonishingly little explanatory power on the views of business leaders. The idea of a coordinated market economy is still relatively widespread among Germans, while their Hungarian and Polish counterparts are more likely to display a minimalist view of corporate responsibility to society and adverse attitudes towards employee representation. However, their attitudes frequently tend to be inconsistent, which mirrors the mixed type of capitalism in East Central Europe.

The Figure of the Migrant in Contemporary European Cinema explores contemporary debates around the concepts of 'Europe' and 'European identity' through an examination of recent European films dealing with various aspects of globalization (the refugee crisis, labour migration, the resurgence of nationalism and ethnic violence, neoliberalism, post-colonialism) with a particular attention to the figure of the migrant and the ways in which this figure challenges us to rethink Europe and its core Enlightenment values (citizenship, justice, ethics, liberty, tolerance, and hospitality) in a post-national context of ephemerality, volatility, and contingency that finds people desperately looking for firmer markers of identity. The book argues that a compelling case can be made for re-orienting the study of contemporary European cinema around the figure of the migrant viewed both as a symbolic figure (representing post-national citizenship, urbanization, the 'gap' between ethics and justice) and as a figure occupying an increasingly central place in European cinema in general rather than only in what is usually called 'migrant and diasporic cinema'. By drawing attention to the structural and affective affinities between the experience of migrants and non-migrants, Europeans and non-Europeans, Trifonova shows that it is becoming increasingly difficult to separate stories about migration from stories about life under neoliberalism in general

Since the fall of the Berlin Wall in 1989, transnational European cinema has risen, not only in terms of production but also in terms of a growing focus on multiethnic themes within the European context. This shift from national to trans-European filmmaking has been profoundly influenced by such historical developments as the collapse of the Iron Curtain and the subsequent ongoing enlargement of the European Union. In European Cinema after the Wall: Screening East–West Mobility, Leen Engelen and Kris Van Heuckelom have brought together essays that critically examine representations of post-1989 migration from the former Eastern Bloc to Western Europe, uncovering an array of common tropes and narrative devices that characterize the influences and portrayals of immigration. Featuring essays by contributors from backgrounds as divergent as film studies, Slavic and Russian studies, comparative literature, sociology, contemporary history, and communication and media studies, this volume will appeal to scholars of film, European history, and those interested in the impact of migration, diaspora, and the global flow of cinematic culture.

Russia has generally been neglected in the academic and policy discourse on regional integration in East Asia. This book fills this gap, with particular attention to the role of Pacific Russia in the deepening regional integration in East Asia. It examines the increasingly diverse foreign policy interests of Russia related to emerging economic and political realities of the world, and Russia’s potential role in the regional integration in East Asia. Topics discussed include Russian strategic interests and security policy in East Asia generally, Russia’s bilateral relations with China, Japan, and the Korean Peninsula, opportunities and challenges energy and immigration presents for Russia and its engagement with East Asia, and Russia’s present and future roles in regional integration in East Asia.