By Yana Hashamova
Because the fall 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 progressive cinematic themes. Yana Hashamova explores this mostly uncharted territory in delight and Panic.
A groundbreaking examine, delight and Panic probes cinematic representations of the unsettled Russian nationwide recognition, a fancy cocktail of worry, anger, and concerned uncertainty. Hashamova examines the works of either proven and lesser-known Russian administrators, and he or she attracts thought-provoking parallels among those evolving social attitudes in modern Russia and the improvement of somebody human psyche. The cultural effect 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 info for Pride and Panic: Russian Imagination of the West in Post-Soviet Film
Example text
She believes that the director tries to deceive the audience and perhaps himself. The final scene raises even more questions about the decision to return to Russia. Back in St Petersburg, the cat that first showed them the ‘window’ to Paris disappears into a hole in a wall and the Russian characters desperately begin searching for a new ‘window’. From a medium shot of the men drilling holes in the wall, the camera pulls back, showing them as insignificant figures at the bottom of a huge wall that spreads over the whole frame.
Notes 1. Here I am guided by Kaja Silverman, who reformulated Jacques Lacan’s concept of the mirror into a concept of a cultural screen, which offers a possibility of a distance between the individual and his/her projected image (1996, 31–36). 2. For more on this nineteenth-century division, its effect on the intelligentsia and the formation of Russian communism, see Berdiaev. 3. qxd 38 2/2/07 17:09 Page 38 | PRIDE AND PANIC 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. particular: ‘Alienation is in part a matter of economic disparity, the wealth of Western Europe facing the poverty of Eastern Europe, but such disparity is inevitably clothed in the complex windings of cultural prejudice’ (3).
Even worse, after their success, thanks to Ivan and Captain Medvedev, John becomes famous and rich selling his story, whereas Ivan awaits his sentence for killing Russian citizens while a civilian. War revives the familiar theme of western mercantilism projected against the superiority of Russian morals. Balabanov’s type of hero – physically average but morally superior – no doubt assuages anxieties provoked by Russia’s complex economic and political conditions and by difficulties in the development of the Russian collective identity during the period of transition.