3 PALACE FOR PUTIN: NAVALNY’S IRONIC DOCUMENTARY

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. FIGURES viii
4. ACKNOWLEDGMENTS x
5. NOTES ON CONTRIBUTORS xii
6. NOTE ON TRANSLITERATION xvii
7. INTRODUCTION 1
8. PART I CONTESTING STATE NARRATIVES
9. 1. POLITICS AND SOCIAL ENGAGEMENT IN RECENT RUSSIAN DOCUMENTARY FILM 21
10. 2. EVERYDAY NATION-BUILDING: STATE TV DOCUMENTARIES IN RUSSIA, 2012–2018 35
11. 3 PALACE FOR PUTIN: NAVALNY’S IRONIC DOCUMENTARY 49
12. PART II POLITICIZING HISTORY
13. 4. THE CIVIC DOCUMENTARIES OF VITALY MANSKY: TEXT AND SUBTEXT 67
14. 5. YURY DUD, YOUTUBE, AND DOCUMENTARY CIVICS 83
15. 6. FOUND FOOTAGE RECONTEXTUALIZATION IN TWENTY-FIRST-CENTURY RUSSIAN DOCUMENTARIES: MICRO- AND MACRO-HISTORIES 101
16. 7. THE NEW KINO-PRAVDA: SERGEI LOZNITSA’S COMPILATION FILMS 117
17. PART III ADVOCATING FOR THE VULNERABLE
18. 8. A CINEMA OF VOLUNTEERS: WOMEN IN RUSSIAN DOCUMENTARY 145
19. 9. NATIONAL SUBJECTIVITY AND THE COMMITMENT TO QUEER VISIBILITY: AUDIBLE DISCOURSES IN CHILDREN 404 157
20. 10. MEDIATING CRISIS CHILDHOODS: THE WORK OF HANNA POLAK AND IRYNA TSILYK 171
21. 11. BECOMING EDIBLE: SERGEI LOZNITSA AND VICTOR KOSSAKOVSKY’S “VEGAN” CINEMA IN BLOCKADE (2006) AND GUNDA (2020) 183
22. PART IV DEVELOPING DISTINCTIVE APPROACHES
23. 12. TEACHER AS PRODUCER: MARINA RAZBEZHKINA AND THE RISE OF OBSERVATIONAL DOCUMENTARY 199
24. 13. ALINA RUDNITSKAYA AND THE LIMITS OF OBSERVATIONAL CINEMA IN FEMINIST DOCUMENTARY 215
25. 14. ALEKSANDR RASTORGUEV: LOOKING INTO THE FACE OF HUMANITY 231
26. 15. RESCUE MISSIONS? THE LATE DOCUMENTARIES OF ALEXANDER SOKUROV 247
27. FILMOGRAPHY 259
28. INDEX 267