Directory of World Cinema: Russia 2 (Book)

Edited by Birgit Beumers

Directory of World Cinema: Russia 2 is an essential companion to the filmic legacy of one of the world’s most storied countries.


Soviet and Russian filmmakers have traditionally had uneasy relationships to the concept of genre. This volume rewrites that history by spotlighting some genres not commonly associated with cinema in the region, including Cold War spy movies and science-fiction films; blockbusters and horror films; remakes and adventure films; and chernukha films and serials. Introductory essays establish key aspects of these genres, and directors’ biographies provide the background for the key players. Building on the work of its predecessor, which explored cinema from the time of the tsars to the Putin era, this book will be warmly received by the serious film scholar as well as all those who love Russian cinema. Directory of World Cinema: Russia 2 is an essential companion to the filmic legacy of one of the world’s most storied countries.


Introduction by the Editor

Film of the Year
Rasskazy/Short Stories
Interview with Mikhail Segal

Festival Focus
Moscow International Film Festival

Iakov Protazanov
Vsevolod Pudovkin
Aleksandr (Oleksandr) Dovzhenko
Abram Room
Lev Kuleshov
Vasil’ev ‘Brothers’
Ivan Pyr’ev Grigorii Aleksandrov (Mormonenko)
Mikhail Kalatozov (Kalatozishvili)
Fedor Khitruk
Elem Klimov
Kira Muratova
Stanislav Govorukhin
Aleksei Iur’evich German
Sergei Solov’ev
Pavel Lungin
Aleksandr Rogozhkin
Aleksei Balabanov

Adventure Film


Science Fiction

Sequels & Remakes

Television Series

Cold War Spy Films


Animation D'Auteur

Documentary Film

Recommended Reading

Russian Cinema Online

Test Your Knowledge

'Peppered with high-quality film stills and questions to consider while viewing, 'Directory of World Cinema: Russia' encourages its reader to hunt out lesser-known films and to revisit his/her favourites.'

Rosemari Baker: Modern Language Review

'A provocative and illuminating volume. Even seasoned Russian film experts stand to learn something from this volume, whether because it invited them to reevaluate their basic historiographical assumptions or because it introduces them to a number of under-the-radar films.'

Hannah Frank: Slavic and East European Journal
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