Balabanov's Bandits: The Bandit Film Cycle in Post-Soviet Cinema
Aleksei Balabanov, Sergei Sel’ianov and their production company CTB played an important role in the cultivation and propagation of the bandit film cycle in Russian cinema. In as much, Brother (1997) and Dead Man’s Bluff (2005), act as bookends for this productive cycle and refract the Russian bandi...
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| Veröffentlicht in: | Canadian journal of film studies 2016-10, Vol.25 (2), p.82-103 |
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| creator | White, Frederick H |
| description | Aleksei Balabanov, Sergei Sel’ianov and their production company CTB played an important role in the cultivation and propagation of the bandit film cycle in Russian cinema. In as much, Brother (1997) and Dead Man’s Bluff (2005), act as bookends for this productive cycle and refract the Russian bandit cultural mythos. As the political and social situation in Russia evolved, so too did the films that glamorized and refracted this period of lawlessness. By placing Dead Man’s Bluff within the context of the bandit cycle, it is then possible to interpret the film as a postmodern pastiche in which Balabanov critiques and parodies the films that he and CTB popularized – once again providing a cinematic auto-citation, for which Balabanov was so well-known. |
| doi_str_mv | 10.3138/cjfs.25.2.82 |
| format | Article |
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By placing Dead Man’s Bluff within the context of the bandit cycle, it is then possible to interpret the film as a postmodern pastiche in which Balabanov critiques and parodies the films that he and CTB popularized – once again providing a cinematic auto-citation, for which Balabanov was so well-known.</description><identifier>ISSN: 0847-5911</identifier><identifier>EISSN: 2561-424X</identifier><identifier>DOI: 10.3138/cjfs.25.2.82</identifier><language>eng</language><publisher>University of Toronto Press</publisher><subject>Balabanov, Aleksei ; Creativity ; Crime ; Criminals ; Culture ; Intertextuality ; Motion picture criticism ; Motion picture directors & producers ; Motion pictures ; Pastiche ; Politics ; Television</subject><ispartof>Canadian journal of film studies, 2016-10, Vol.25 (2), p.82-103</ispartof><rights>Copyright © Film Studies Association of Canada / Association canadienne d’études cinématographiques</rights><rights>Copyright Film Studies Association of Canada Fall 2016</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed><citedby>FETCH-LOGICAL-c308t-302d5de680ae8b8fc9c85d201864b85c70189ec3ba8fa4837ca9605a280de8dc3</citedby></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><link.rule.ids>314,778,782,27907,27908</link.rule.ids></links><search><creatorcontrib>White, Frederick H</creatorcontrib><title>Balabanov's Bandits: The Bandit Film Cycle in Post-Soviet Cinema</title><title>Canadian journal of film studies</title><description>Aleksei Balabanov, Sergei Sel’ianov and their production company CTB played an important role in the cultivation and propagation of the bandit film cycle in Russian cinema. 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| ispartof | Canadian journal of film studies, 2016-10, Vol.25 (2), p.82-103 |
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| language | eng |
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| source | Jstor Complete Legacy; Alma/SFX Local Collection |
| subjects | Balabanov, Aleksei Creativity Crime Criminals Culture Intertextuality Motion picture criticism Motion picture directors & producers Motion pictures Pastiche Politics Television |
| title | Balabanov's Bandits: The Bandit Film Cycle in Post-Soviet Cinema |
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