By Liliya Berezhnaya
This publication includes analyses of the kinfolk among non secular and nationwide subject matters in post-1989 East ecu cinema. It combines theoretical articles with case stories, bringing jointly researchers from various nationwide backgrounds and disciplines, like heritage, literary and movie reviews.
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Extra info for Iconic Turns: Nation and Religion in Eastern European Cinema since 1989
11 She can be seen as an alternative draft of Villiers de L’Isle-Adam’s electro-magnetic Eve future (1886), which was a hybrid of technical utopianism and occultism. In contrast to this, the Edison-woman neatly embodies the early Soviet devotion to technology. ” 10 See Schlegel, “Die Utopie der universellen Synthese,” 149ff. 11 Kozintsev and Trauberg, Zhenshchina Edisona (script). See also Schlegel, “Konstruktionen und Perversionen,” 123–33. 12 Gassner, “Der neue Mensch,” 160; 171. 38 hans-joachim schlegel with the help of the unerring camera lens.
London: Routledge, 2011. Merdjanova, Ina. Religion, Nationalism, and Civil Society in Eastern Europe: The PostCommunist Palimpsest. Lewiston: Edwin Mellen Press, 2002. Metz, Christian. The Imaginary Signifier. Psychoanalysis and the Cinema. 1977. Bloomington: Indiana University Press, 1982. Miller, Alexej. ” In Europa und die Grenzen im Kopf, edited by Dagmar Gramshammer-Hohl, Karl Kaser, and Robert Pichler, 139–164. Klagenfurt: Wieser, 2003. Mirzoeff, Nicholas, ed. The Visual Culture Reader. 2nd edition.
60 So far, only the relation of cinema and nation has been discussed— mainly in terms of (national) identity. But how can religion be part of this? Referring back to the concepts of “sacralization of the nation” and “nationalization of religion,” it seems productive to us to conceive of cinema as a site of transfer, where both processes become palpable. In this view, films are cultural mediators that are always already situated somewhere between national and religious claims, forging links between the two social spheres and their semiotic material.