The collapse of the USSR seemed to spell the end of the empire, yet it by no means foreclosed on Russia's enduring imperial preoccupations, which had extended from the reign of Ivan IV over four and a half centuries. Examining a host of films from contemporary Russian cinema, Nancy Condee argues that we cannot make sense of current Russian culture without accounting for the region's habits of imperial identification. But is this something made legible through narrative alone-Chechen wars at the periphery, costume dramas set in the capital-or could an imperial trace be sought in other, more embedded qualities, such as the structure of representation, the conditions of production, or the preoccupations of its filmmakers? This expansive study takes up this complex question through a commanding analysis of the late Soviet and post-Soviet period auteurists, Kira Muratova, Vadim Abdrashitov, Nikita Mikhalkov, Aleksei German, Aleksandr Sokurov and Aleksei Balabanov.

Analysing films by established directors such as Sokurov and Zel'dovich, as well as lesser-known filmmakers like Balabanov and Kalatozishvili, this book explores the particular style of film presentation that has emerged in Russia since 2000, characterised by its use of highly abstract concepts and visual language.

Locating World Cinema argues for the importance of understanding the local context of a film's creation and the nuances that it conveys to the spectator. It examines the sociocultural contexts intrinsic to cinema from milieus like the USSR/Russia, China, Japan, France, the US, Iran and India. The book analyses the works of some of the more celebrated but, at times, less than fully understood auteurs, such as Kenji Mizoguchi from Japan; Robert Bresson, Jacques Rivette and Éric Rohmer from France; Abbas Kiarostami from Iran; Martin Scorsese from the US; Zhang Yimou from China and Aleksei German from Russia. Further, it examines how the conditions of exhibition for art house cinema has transformed into the 'global art film' that attempts to bypass the local by addressing international audiences. The book deals with complex ideas but is lucidly written, making it accessible to film students and lay persons alike.

This volume concludes the series with an apparatus. The list of Abbreviated Titles comprises all Abbreviations used throughout the four Parts while the Bibliography consolidates the books and articles cited in the four sets of References. The intention of the various Indices is to let the reader find his way about the text in one way or another whereas the main focus of the Addenda is on publications that were either earlier missed or, as in most cases, appeared too late to be included at the appropriate stage of the text. Lastly, the list of errata in the Corrigenda consists mostly of typographical errors that escaped notice in the original manuscript.

Preliminary material -- GENIUS AND NUMEN -- NUMINA AUGUSTORUM -- THE IMPERIAL NVMEN IN ROMAN BRITAIN -- DOMUS DIVINA -- AUGUSTO UT DEO -- AUGUSTAN GODS -- AUGUSTAN BLESSINGS AND VIRTUES -- LITURGY AND CEREMONIAL -- DATED INSCRIPTIONS AND THE FERIALE DURANUM -- THE AUGUSTALES AND THE IMPERIAL CULT -- ADDENDA TO VOLUME II, 1 -- LIST OF PLATES -- Plates LXXIV-CXIII.

This volume concludes the series with an apparatus. The list of Abbreviated Titles comprises all Abbreviations used throughout the four Parts while the Bibliography consolidates the books and articles cited in the four sets of References. The intention of the various Indices is to let the reader find his way about the text in one way or another whereas the main focus of the Addenda is on publications that were either earlier missed or, as in most cases, appeared too late to be included at the appropriate stage of the text. Lastly, the list of errata (underline, please) in the Corrigenda consists mostly of typographical errors that escaped notice in the original manuscript.