Denis I. Saltykov

National Research University Higher School of Economics, Moscow, Russia

Articles. Research
 
Recent Russian blockbuster emerged approximately at the same time with Vladimir Putin’s Russian presidency and Nikita Mikhalkov’s appointment as the chair of the Union of Cinematographers of the Russian Federation. In the same years multiplexes in the country were opened, and theatres became filled with people. The context defines Russian blockbuster’ specifics. It has a considerably low production budget, since it has a part of state finance. Such movie doesn’t necessarily get profit, but it uses Hollywood techniques to transfer Russian national ideology. Before now, Russian blockbuster was mostly historical; it used to avoid working with contemporaneity. In 2017 along with historical there are blockbusters in modern setting, which marks a new level for Russian cinematic ideology. Depicting sexual intercourse Russian blockbuster highlights its paradox of double determination. The ruling party’s modern cultural conservative position contradicts the obligatory entertaining features of popular culture that implies principal ability to show sexual intercourse. The cases of using this tool by Russian high-budget cinematographers define the erotic dimension for Russian ideology. We can see its actual state by analyzing erotic scenes in three Russian blockbusters released in 2017. In historical film ‘Viking’ rape serves as a war tool for the protagonist. In sci-fi ‘Attraction’ chauvinist aggression is triggered by aliens’ interruption of the main characters’ sexual intercourse. The film ‘Crimea’ is more explicitly politicized, and it has two main characters taking different positions on the Russian-Ukrainian conflict. The characters’ last sex is explicitly associated with a political crisis between two states.
 
Keywords: blockbuster, ideology, imperiality, nationalism, recent Russian cinema, sexuality
 
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