Russia and Its Other(s) on Film Screening Intercultural Dialogue

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Summary

This volume applies two fashionable theoretical paradigms--" The Other" and " intercultural dialogue" --to Russian film and television.

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Introduction
Russian Represents 'The Other'
Foreigners in Russian Cinema: The Extraordinary Case of the 1961 Film "Inostrantsy"
New Approaches with Similar Effects: Victor Nekrasov and Italian Neo-Realist Film in the Early 1960s
Italians as Others in Late Soviet Film
Contemporary Russian Television Commercials and the Transformation of Western Models
Aleksandr Rogozhkin's Film "Cuckoo" as a Russian Postcolonial Fairytale
Sokurov's "Russian Ark": Reflections on the Russia-Europe Theme
The Other Represents Russia
Lost in Translation: Did Sound Stop Soviet Films Finding Western Audiences?
Lines of Fight in the Face of the Enemy: The Curious Absence of the Face of the Russian Other in Western Cold War Films
Bilingualism, Miscegenation and Incest in Regis Wargnier's "Vostok/Zapad" and "Indochine": Russia's Place in the French Postcolonial Imagination
Russian Martial Migrants in Contemporary Film
The Comfort of Stereotypes in Spielberg's "Terminal": A Post-Soviet Man in the Western Context
Conclusion
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