Acknowledgements

Chapters in this book

1. Frontmatter i
2. Contents v
3. Figures vii
4. Acknowledgements viii
5. Note on Transliteration x
6. Figures xi
7. Introduction 1
8. 1 Abstracted Subjectivity and Knowledge-Worlds: Aleksandr Sokurov’s Taurus (2001) 36
9. 2 The Lacking Sense of Cinema: Aleksandr Proshkin’s The Miracle (2009) 54
10. 3 Gatekeepers of (Non-)Knowledge: Aleksei Balabanov’s Morphine (2008) 72
11. 4 Symbolic Folds and Flattened Discourse: Andrei Zviagintsev’s Elena (2010) 91
12. 5 Non-Knowledge and the Symbolic Mode: Nikolai Khomeriki’s A Tale About Darkness (2009) 109
13. 6 The World and the Event: Kirill Serebrennikov’s St George’s Day (2008) 127
14. 7 A Plea for the Dead (Self): Renata Litvinova’s Goddess: How I Fell in Love (2004) 145
15. 8 Body in Crisis and Posthumous Subjectivity: Igor’ Voloshin’s Nirvana (2008) 163
16. 9 The Difficulty of Being Dead: Aleksandr Veledinskii’s Alive (2006) 181
17. 10 Intentionality and Modelled Subjectivities: Aleksei Fedorchenko’s Silent Souls (2010) 199
18. 11 Abandoned Being: Mikhail Kalatozishvili’s The Wild Field (2008) 217
19. 12 Amplifications of Subjectivity: Aleksandr Zel’dovich’s The Target (2010) 236
20. Filmography 258
21. Bibliography 264
22. Index 281