Examining the role of dramatized narratives in Russian television, this book stresses the ways in which the Russian government under Putin use primetime television to express a new understanding of what it means to be Russian, answering key questions of national identity for modern Russians in dealing with their recent history: ‘What really happened to us?’ and, accordingly, ‘Why?’ The book covers important issues in Russian television today, including: the reworking of new ‘national’ on-screen heroes its relationship with classic literature the revisionist portrayal of a romantic portrait of life in the Soviet era the role of thematic elements such as love, fidelity, humour and irony the particularly pressing problem of crime and its representation on screen as Mafia or police adventure, and its political usage by the Putin administration. This book provides a detailed account of the critical issues in contemporary Russian television, relating them to broader social and political developments in Russian society.

Russia, one of the most ethno-culturally diverse countries in the world, provides a rich case study on how globalisation and associated international trends are disrupting, and causing the radical rethinking of approaches to, inter-ethnic cohesion. The book highlights the importance of television broadcasting in shaping national discourse and the place of ethno-cultural diversity within it. It argues that television’s role here has been reinforced, rather than diminished, by the rise of new media technologies. Through an analysis of a wide range of news and other television programmes, the book shows how the covert meanings of discourse on a particular issue can diverge from the overt significance attributed to it, just as the impact of that discourse may not conform with the original aims of the broadcasters. The book discusses the tension between the imperative to maintain security through centralised government and overall national cohesion that Russia shares with other European states, and the need to remain sensitive to, and to accommodate, the needs and perspectives of ethnic minorities and labour migrants. It compares the increasingly isolationist popular ethnonationalism in Russia, which harks back to "old-fashioned" values, with the similar rise of the Tea Party in the United States and the UK Independence Party in Britain. Throughout, this extremely rich, well-argued book complicates and challenges received wisdom on Russia’s recent descent into authoritarianism. It points to a regime struggling to negotiate the dilemmas it faces, given its Soviet legacy of ethnic particularism, weak civil society, large native Muslim population and overbearing, yet far from entirely effective, state control of the media.

Russian TV Series in the Era of Transition examines contemporary Russian television genres in the age of transition from broadcast to post-broadcast television. Focusing on critical debates and the most significant TV series of the past two decades, the volume’s contributors—the leading US and European scholars studying Russian television, as well as the leading Russian TV producers and directors—focus on three major issues: Russian television’s transition to digital post-broadcast economy, which redefined the media environment; Russian television’s integration into global television markets and their genre systems; and major changes in the representation of gender and sexuality on Russian television.

Russia, one of the most ethno-culturally diverse countries in the world, provides a rich case study on how globalisation and associated international trends are disrupting, and causing the radical rethinking of approaches to, inter-ethnic cohesion. The book highlights the importance of television broadcasting in shaping national discourse and the place of ethno-cultural diversity within it. It argues that television’s role here has been reinforced, rather than diminished, by the rise of new media technologies. Through an analysis of a wide range of news and other television programmes, the book shows how the covert meanings of discourse on a particular issue can diverge from the overt significance attributed to it, just as the impact of that discourse may not conform with the original aims of the broadcasters. The book discusses the tension between the imperative to maintain security through centralised government and overall national cohesion that Russia shares with other European states, and the need to remain sensitive to, and to accommodate, the needs and perspectives of ethnic minorities and labour migrants. It compares the increasingly isolationist popular ethnonationalism in Russia, which harks back to "old-fashioned" values, with the similar rise of the Tea Party in the United States and the UK Independence Party in Britain. Throughout, this extremely rich, well-argued book complicates and challenges received wisdom on Russia’s recent descent into authoritarianism. It points to a regime struggling to negotiate the dilemmas it faces, given its Soviet legacy of ethnic particularism, weak civil society, large native Muslim population and overbearing, yet far from entirely effective, state control of the media.

An interpretive biography of one of Russia's most formidable leaders.

Presenting original research from a number of well-known international specialists, this book is a detailed investigation of the development of mass media in Russia since the end of Communism and the collapse of the Soviet Union.

This book provides a multi-faceted picture of the many complex processes taking place in the field of contemporary Russian media and popular culture. Russian social and cultural life today is strongly individualised and consumers are offered innumerable alternatives; but at the same time options are limited by the new technologies of control which are a key feature of Russian capitalism. Based on extensive original research by scholars in both Russia itself and in Finland, the book discusses new developments in the media industry and assesses a wide range of social and cultural changes, many of which are related to, and to an extent generated by, the media. The book argues that the Russian mass media industry, whilst facing the challenges of globalization, serves several purposes including making a profit, reinforcing patriotic discourse and popularizing liberalized lifestyles. Topics include changing social identities, new lifestyles, ideas of "glamour" and "professional values". Overall, the book demonstrates that the media in Russia is far from homogenous, and that, as in the West, despite new technologies of control, media audiences are being offered a new kind of pluralism which is profoundly influencing Russia's cultural, social and political landscape.

Sarah Oates gives a detailed examination on a central theme in political science: the relationship between democracy and the mass media. This significant book contains a wealth of information and data, including: public opinion surveys, content analysis of television news, focus groups and in-depth interviews to examine why political parties and the mass media failed so spectacularly to aid in the construction of a democratic system in Russia. The analysis presents compelling evidence that television helped to tune out democracy as it served as a tool for leaders rather than a conduit of information in the service of the electorate or parties. In addition, focus groups and surveys show that the Russian audience are often more comfortable with authority rather than truth in television coverage. Within this framework, this fascinating work presents the colourful history of parties, elections and television during one of the most critical eras in Russian history and captures a particularly significant epoch in contemporary Russian politics.

This book is an exploration of the changes in Russian cultural identity in the twenty years after the fall of the Soviet state. Through close readings of a select number of contemporary Russian films and television series, Irina Souch investigates how a variety of popular cultural tropes ranging from the patriarchal family to the country idyll survived the demise of Communism and maintained their power to inform the Russian people's self-image. She shows how these tropes continue to define attitudes towards political authority, economic disparity, ethnic and cultural difference, generational relations and gender. The author also introduces theories of identity developed in Russia at the same time, enabling these works to act as sites of productive dialogue with the more familiar discourses of Western scholarship.

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.