Editorial
The selective ban on Russian films at various film festivals has radically altered the question of national identity. What makes a film Russian, Serbian or Romanian? In Europe, including Russia, films are largely produced through public funding. Does this mean that films receiving public funding are representative of the state? Or should a film be...
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Vol. 123 (March 2022)
We met Ileana L. Selejan to speak to her about Romanian film collective Kinema Ikon, with which she is affiliated as a resident historian, curator, and critic.
In his essay on the Polaroids of Andrei Tarkovsky, Gawan Fagard draws parallels between the ontology of the medium and the work of the Russian director.
Daniel Fuller looks at the way a Ukrainian computer game transfigured folkloric processes of remembering, drawing parallels to Andrei Tarkovsky’s Stalker.
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