Stephen M. Norris

Seeking to rebuild the Russian film industry after its post-Soviet collapse, directors and producers sparked a revival of nationalist and patriotic sentiment by applying Hollywood techniques to themes drawn from Russian history. Unsettled by the government’s move toward market capitalism, Russians embraced these historical blockbusters, packing the American-style multiplexes that sprouted across the country. Stephen M. Norris examines the connections among cinema, politics, economics, history, and patriotism in the creation of "blockbuster history"—the adaptation of an American cinematic style to Russian historical epics.

Movies, Memory, and Patriotism

Blockbuster History in the New Russia

Seeking to rebuild the Russian film industry after its post-Soviet collapse, directors and producers sparked a revival of nationalist and patriotic sentiment by applying Hollywood techniques to themes drawn from Russian history. Unsettled by the government's move toward market capitalism, Russians embraced these historical blockbusters, packing the American-style multiplexes that sprouted across the country. Stephen M. Norris examines the connections among cinema, politics, economics, history, and patriotism in the creation of "blockbuster history"—the adaptation of an American cinematic style to Russian historical epics.

Willard Sunderland

“A fresh and lively approach to understanding how the various Russian empires have worked.” —Slavic Review A fundamental dimension of the Russian historical experience has been the diversity of its people and cultures, religions and languages, landscapes and economies. For six centuries this diversity was contained within the sprawling territories of the Russian Empire and the Soviet Union, and it persists today in the entwined states and societies of the former USSR. Russia’s People of Empire explores this enduring multicultural world through life stories of 31 individuals―famous and obscure, high born and low, men and women―that illuminate the cross-cultural exchanges at work from the late 1500s to post-Soviet Russia. Working on the scale of a single life, these microhistories shed new light on the multicultural character of the Russian Empire, which both shaped individuals’ lives and in turn was shaped by them. “[S]tudents of Russian empire would be well served with this work, given its snapshots of diverse imperial milieus and their attendant multicultural dialogues at the personal level.” —Slavic and East European Journal “This compilation . . . gives readers a more in-depth, personal understanding of how the inescapable existence of diversity in Russia and the Soviet Union related to everyday life . . . Highly recommended.” —Choice

Life Stories from Eurasia, 1500 to the Present

Russia's People of Empire

Elena V. Baraban

You don't know his name, but Boris Akunin is one of the most popular and prolific Russian writers of the twenty-first century.

The Mysteries and Histories of Russia's Bestselling Author

Akunin Project

The lubok—a broadside or poster—played an important role in Russia's cultural history. Evolving as a medium for communication with a largely illiterate population, the popular prints were adapted to express political propaganda. Stephen Norris examines the use of such prints to stir patriotic fervor during times of war, from Napoleon's failed attempt at conquering Russia to Hitler's invasion. Norris shows how visual images of patriotism and expressions of the Russian spirit changed over time, yet remained similar. The lubok produced during Russia's modern wars consistently featured the same key elements: the Russian peasant, the Cossack, and a representation of “the Russian spirit.” When Russia was victorious, occasionally the tsar figured into the imagery; but by the beginning of the 20th century, ethnic identity had replaced dynastic representations of Russian nationhood. After the Revolutions of 1917, Bolshevik and Soviet leaders appropriated the traditional elements of the wartime lubok to promote their vision of the new socialist state. The political power of lubok imagery did not end with the Bolsheviks' adaptations. During World War II, political posters similar to those of the tsarist era reemerged to express and to reinforce Russia's culture of patriotism and strength. Amply illustrated, A War of Images is the first comprehensive study of how popular prints helped to construct national identity in Russia over a period of more than a century. Readers interested in Russian art, history, and culture will find its insights intriguing.

Russian Popular Prints, Wartime Culture, and National Identity, 1812-1945

A War of Images

Zara M. Torlone

Identifying who was "inside" and who was "outside" the Soviet/Russian body politic has been a matter of intense and violent urgency, especially in the high Stalinist and post-Soviet periods. It is a theme encountered prominently in film. Employing a range of interpretive methods practiced in Russian/Soviet film studies, Insiders and Outsiders in Russian Cinema highlights the varied ways that Russian and Soviet cinema constructed otherness and foreignness. While the essays explore the "us versus them" binary well known to students of Russian culture and the ways in which Russian films depicted these distinctions, the book demonstrates just how impossible maintaining this binary proved to be. Contributors are Anthony Anemone, Julian Graffy, Peter Kenez, Joan Neuberger, Stephen M. Norris, Oleg Sulkin, Yuri Tsivian, Emma Widdis, and Josephine Woll.

Insiders and Outsiders in Russian Cinema

How did communities come to terms with the collapse of communism? In order to guide the wider narrative, many former communist countries constructed museums dedicated to chronicling their experiences. Museums of Communism explores the complicated intersection of history, commemoration, and victimization made evident in these museums constructed after 1991. While contributors from a diverse range of fields explore various museums and include nearly 90 photographs, a common denominator emerges: rather than focusing on artifacts and historical documents, these museums often privilege memories and stories. In doing so, the museums shift attention from experiences of guilt or collaboration to narratives of shared victimization under communist rule. As editor Stephen M. Norris demonstrates, these museums are often problematic at best and revisionist at worst. From occupation museums in the Baltic States to memorial museums in Ukraine, former secret police prisons in Romania, and nostalgic museums of everyday life in Russia, the sites considered offer new ways of understanding the challenges of separating memory and myth.

New Memory Sites in Central and Eastern Europe

Museums of Communism

A fundamental dimension of the Russian historical experience has been the diversity of its people and cultures, religions and languages, landscapes and economies. For six centuries this diversity was contained within the sprawling territories of the Russian Empire and the Soviet Union, and it persists today in the entwined states and societies of the former USSR.Russia's People of Empireexplores this enduring multicultural world through life stories of 31 individuals -- famous and obscure, high born and low, men and women -- that illuminate the cross-cultural exchanges at work from the late 1500s to post-Soviet Russia. Working on the scale of a single life, these micro-histories shed new light on the multicultural character of the Russian Empire, which both shaped individuals' lives and in turn was shaped by them.

Stephen M. Norris

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