By Yana Hashamova
Since the autumn of Communism, Russians have struggled to reconcile their social traditions with a flood of Western cultural imports. modern Russian cinema has latched directly to the ensuing confusion and ambivalence, mining societal upheaval for innovative cinematic issues. Yana Hashamova explores this mostly uncharted territory in Pride and Panic.
A groundbreaking study, Pride and Panic probes cinematic representations of the unsettled Russian nationwide realization, a fancy cocktail of worry, anger, and concerned uncertainty. Hashamova examines the works of either confirmed and lesser-known Russian administrators, and she or he attracts thought-provoking parallels among those evolving social attitudes in modern Russia and the advance of somebody human psyche. The cultural influence of globalization, the evolution of the Russian nationwide id, and the psychology of a society all intertwine during this attention-grabbing examine of the connections among movie and political consciousness.
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Extra resources for Pride and Panic: Russian Imagination of the West in Post-Soviet Film
Nobody resists Danila, nobody assaults him or shoots at him, simply because not one of the characters are ‘real people’, yet, relatively, ‘ideological phantoms’ (Lipovetskii 2000, 57). Evgenii Gusiatinskii compares the development and illustration of the ‘enemies’ in Brother 2 to the illustration of Germans in Soviet motion pictures approximately international struggle II. They have been all silly and gave the look of whole idiots (Gusiatinskii). In battle, which Horton calls ‘Balabanov’s such a lot nationalist movie to date’, the diversities and the department of characters turn into much more simplified and transparent (2002). All non-Russians, Chechens, and British are undesirable; Russians are solid, aside from a corrupted translator within the overseas Ministry and 2 crooks. 14 In Brother, Danila publicizes that he's ‘not wild approximately Jews’ and refuses to have whatever in universal with Southerners, whereas he despises or even acknowledges no distinction among americans and the French. increasing the limits of resentment, in Brother 2, Viktor doesn't like Filipp Kirkorov, a modern Russian pop singer, simply because he makes use of makeup and is Romanian. whilst corrected approximately Kirkorov’s nationality (Bulgarian), Viktor solutions within the traditional approach, ‘What’s the adaptation? ’ The hatred within the first movie directed in simple terms opposed to such ‘traditional enemies’ as Jews, Chechens, and westerners spreads over within the moment to incorporate all non-Russians – Romanians, Bulgarians, and Ukrainians. whilst Viktor runs into Ukrainians in Chicago he refers to them with a pejorative ethnic time period and calls them Nazi collaborators. Viktor’s aggression resonates with Russian audience’ anxieties, which might be defined as one of those mourning procedure that has no longer been labored out. fifty one Pride & Panic. qxd fifty two 2/2/07 17:09 web page fifty two | satisfaction AND PANIC Romanians, Bulgarians, and Ukrainians have been perceived as a part of the Soviet empire, yet those elements have been misplaced after the cave in of Soviet communism. Now the subconscious desire to repair those misplaced appendages of the imagined empire constructs them as enemies and generates aggression opposed to them. defined in different phrases, the greater the sensation of the imagined possibility to nationwide id and the event of nationwide marginalization, the extra excessive the necessity turns into to create transparent limitations that safeguard identification. The anxieties are registered as a inflexible insistence on distinction, even if this distinction is disadvantaged of any convincing substance. the opposite is condemned as diverse and, even worse, as evil for no cause except its otherness. Arguing a few comparable building of otherness within the movie anything Wild (1961), Jameson writes: ‘The glossy gothic, in different phrases – even if in its rape-victim or its political paranoid kinds – relies totally in its principal operation at the building of evil…Evil is right here, even though, the emptiest kind of sheer Otherness (into which any form of social content material could be poured at will)’ (1991, 290). Balabanov’s motion pictures advise a shallow and trivial notion: Russians have excessive ethical criteria, love their motherland, and aren't corrupted via funds; as a result, they're higher than anyone else on the earth.