Miško Šuvaković (University of Arts, Belgrade) situates his native Serbia within an emergent sphere of artistic production vis-à-vis the world of high art.
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.
