By ΠΠΎΡΠΈΠ»ΠΎ ΠΠ»Π΅Π½Π° , β¦
ΠΠ»Π΅Π½Π° ΠΠΎΡΠΈΠ»ΠΎ, Π. ΠΠΎΡΠΈΠ»ΠΎ, 2020
ΠΠ½ΠΈΠ³Π° ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅Ρ ΠΏΠΎΠ»ΠΈΡΠΈΡΠ΅ΡΠΊΠΎΠ΅ ΠΏΡΠΎΡΡΠ΅Π½ΠΈΠ΅ ΡΠΎΡΡΠΈΠΉΡΠΊΠΈΡ ΠΈ Π°ΠΌΠ΅ΡΠΈΠΊΠ°Π½ΡΠΊΠΈΡ ΡΠΈΠ»ΡΠΌΠΎΠ² ΠΏΠ΅ΡΠΈΠΎΠ΄Π° 1990-2005 Π³ΠΎΠ΄ΠΎΠ². ΠΡΡΠ»Π΅Π΄ΡΠ΅ΡΡΡ, ΠΊΠ°ΠΊ ΡΠ΅ΠΏΡΠ΅Π·Π΅Π½ΡΠ°ΡΠΈΡ Β«ΠΏΠ°ΡΡΠ½Π΅ΡΠ°Β» Π² ΠΊΠΈΠ½Π΅ΠΌΠ°ΡΠΎΠ³ΡΠ°ΡΠ΅ Π ΠΎΡΡΠΈΠΈ ΠΈ ΠΠΎΠ»Π»ΠΈΠ²ΡΠ΄Π΅, Π½Π΅ΡΠΌΠΎΡΡΡ Π½Π° ΠΏΠ΅ΡΠ²ΠΎΠ½Π°ΡΠ°Π»ΡΠ½ΡΡ ΡΠΉΡΠΎΡΠΈΡ ΠΈ ΠΎΡΠΈΡΠΈΠ°Π»ΡΠ½ΠΎΠ΅ ΡΠΎΡΡΡΠ΄Π½ΠΈΡΠ΅ΡΡΠ²ΠΎ, ΠΏΡΠΎΠ΄ΠΎΠ»ΠΆΠ°Π»Π° ΠΎΡΠ½ΠΎΠ²ΡΠ²Π°ΡΡΡΡ Π½Π° ΡΡΡΠ°ΡΠ΅Π³ΠΈΡΡ Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΏΡΠ΅Π²ΠΎΡΡ ΠΎΠ΄ΡΡΠ²Π°. ΠΠ½Π°Π»ΠΈΠ·ΠΈΡΡΠ΅ΡΡΡ ΡΠ΅ΡΠ½Π°Ρ ΡΠ²ΡΠ·Ρ ΠΌΠ΅ΠΆΠ΄Ρ ΠΏΠΎΠ»ΠΈΡΠΈΠΊΠΎΠΉ ΠΈ ΠΊΠΈΠ½Π΅ΠΌΠ°ΡΠΎΠ³ΡΠ°ΡΠΎΠΌ ΡΠ΅ΡΠ΅Π· ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΠ΅ Π±ΡΠ²ΡΠ΅Π³ΠΎ Π²ΡΠ°Π³Π° Π²ΡΠ΅ΠΌΠ΅Π½ Ρ ΠΎΠ»ΠΎΠ΄Π½ΠΎΠΉ Π²ΠΎΠΉΠ½Ρ. Π Π°Π±ΠΎΡΠ° ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΠ΅Ρ ΡΡΠ°Π½ΡΠ½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΡΠΉ ΠΏΠΎΠ΄Ρ ΠΎΠ΄ Π΄Π»Ρ ΠΈΠ·ΡΡΠ΅Π½ΠΈΡ ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ² ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΡ ΠΏΡΠΎΡΠΈΠ²Π½ΠΈΠΊΠ° Π² ΡΠΈΠ»ΡΠΌΠ°Ρ ΠΎΠ±Π΅ΠΈΡ ΡΡΡΠ°Π½.
Elena Goscilo, B. Goscilo, 2020
This book offers a political reading of Russian and American films from 1990-2005. It examines how, despite initial euphoria and official cooperation, the representation of the "partner" in Russian cinema and Hollywood continued to rely on strategies of national superiority. The study highlights the close relationship between politics and cinema through the portrayal of the former Cold War enemy. Employing an innovative transnational approach, it analyzes the methods used in Russian and American films to depict the former adversary.