Zoe Aiano recounts the way WWII films from the Baltics have kept reassigning the roles of culprits, albeit always from a position of moral superiority.
Georgian writer, historian and screenwriter Aka Morchiladze examines the phenomenon of literary adaptations in the Soviet Union, and in Georgia in particular.
Mikhail Iampolski (New York University) retraces the genealogy of the cinematic man starting with Soviet films of the 1920s, and ending with contemporary Russian cinema.
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.
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