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Full Description
Addressing representations of Russia and neighbouring Eastern Europe in post-1989 Nordic cinemas, this ground-breaking book investigates their hitherto overlooked transnational dimension. Departing from the dark and lawless stereotypes that have characterised much of 'Eastern noir', the book presents Russia and Eastern Europe as imagined spaces of rich and previously neglected cinematic diversity. Cross-disciplinary in its approach, with in-depth case studies of films, documentaries and television dramas like Lilya 4-ever, A Pigeon Sat on a Branch Reflecting on Existence and Occupied, this book sheds light on a variety of differing perspectives and considers how increasingly transnational affinities prompt a reimagining of Norden's eastern neighbours.
Contents
AcknowledgementsIntroduction: The Iron Curtain effect: Nordic Eastern noirChapter 1: Borders: Russia and Eastern Europe as a crime sceneChapter 2: Boundaries: Infiltrated identitiesChapter 3: The Baltic boundaryChapter 4: Guilt and shame in (trans)national spacesChapter 5: Embodying the fear of Russia: The militarised bodyChapter 6: Polish spectres in our house: Revisiting the Nordic metaphor of the homeAfterword: Beyond Eastern noir: Toward a new (cinematic) spaceBibliographyFilmography