Over the course of more than a dozen feature films, Balabanov articulated a position that the technology of modernity refracted a neo-reality, one which further alienated people from the sacred. In fact, Balabanov seemed to be acutely aware of the binary opposition between the sacred and the profane – especially in his later films. These intermedial self-references had become an anticipated characteristic of Balabanov’s films. In the films of Balabanov his frequent reflexivity goes beyond a critical consciousness of the lack of ultimate truths and, arguably, is more than ironic self-commentary. With the filmmaker’s untimely death in 2013, scholars will now begin to unpack exactly what Aleksei Balabanov achieved with his “cinema about cinema.” Watching Balabanov’s films as a singular postmodern text is important in understanding the entire trajectory of this cinematic narrative. The volume Border Crossing extends the scope of research by including non-Russian film adaptations and by, to some extent, redefining the concept of “screen adaptation” itself.
The book edited by Vernitski and Hutchings is limited to the Russian-language films produced in the twentieth century – in other words, Russian and Soviet screen adaptations. Hutchings and Vernitski edited a volume entitled Russian and Soviet Film Adaptations of literature, 1900-2001: Screening the Word in 2005 in the BASEES / RoutledgeCurzon series on Russian and East European Studies dedicated to the relationship between Russian literature and the camera (Hutchings 2005). White, follows the thematic complex laid out at a 2002 conference at the University of Surrey organized by Stephen Hutchings and Anat Vernitski. This collection, edited by Alexander Burry and Frederick H. Each chapter analyses films based on Russian literary works.
Russian Literature into Film is a collection of eleven essays and articles which focus on Russian literature.
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