Border Crossing: Russian Literature into Film

Border Crossing

Russian Literature into Film

Applying the metaphor of the 'border crossing' from one temporal or spatial territory into another, Border Crossing: Russian Literature into Film examines the way classic Russian texts have been altered to suit new cinematic environments.

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Border Crossing

Russian Literature into Film

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Contents

Frontmatter
pp i-iv

Contents
pp v-vi

List of Figures
pp vii-viii

Notes on the Contributors
pp ix-xii

Introduction: Filming Russian Classics—Challenges and Opportunities
pp 1-16

1 - Across the Russian Border
pp 17-39

2 - Dostoevskii's “White Nights”: The Dreamer Goes Abroad
pp 40-63

3 - On Not Showing Dostoevskii's Work: Robert Bresson's Pickpocket
pp 64-84

4 - Stealing the Scene: Crime as Confession in Robert Bresson's Pickpocket
pp 85-101

5 - The Eye-deology of Trauma: Killing Anna Karenina Softly
pp 102-120

6 - “A Vicious Circle”: Karen Shakhnazarov's Ward no. 6
pp 121-139

7 - A Slap in the Face of American Taste: Transporting He Who Gets Slapped to American Audiences
pp 140-164

8 - Against Adaptation? The Strange Case of (Pod) Poruchik Kizhe
pp 165-187

9 - Chasing the Wealth: The Americanization of Il'f and Petrov's The Twelve Chairs
pp 188-201

10 - Fassbinder's Nabokov—From Text to Action: Repressed Homosexuality, Provocative Jewishness, and Anti-German Sentiment
pp 202-222

11 - “The Soviet Abroad (That We Lost)”: The Fate of Vasilii Aksenov's Cult Novel A Starry Ticket on Paper and on Screen
pp 223-238

Conclusion: Passport Control—Departing on a Cinematic Journey
pp 239-264

Bibliography
pp 265-280

Filmography
pp 281-287

Index
pp 288-298

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Border Crossing

Russian Literature into Film

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