Stephen M. Norris is Professor of History at Miami University of Ohio. He is author of A War of Images: Russian Popular Prints, Wartime Culture, and National Identity and editor (with Willard Sunderland) of Russia's People of Empire: Life Stories from Eurasia, 1500 to the Present (IUP, 2012).

Blockbuster History in the New Russia . . . should be on the reading list of every student of contemporary Russian culture. . . . The book is a pleasure to read. Norris is an excellent storyteller who appropriately and elegantly introduces thousands of details into his narrative to keep the reader interested.(Slavic and East European Journal) Norris, as a historian, conducts a thorough research study using primary and secondary sources. . . . He assembles a huge amount of materials and organizes them in a logical way, following several tracks but never losing sight of the main argument. For all its complexity, the book is an easy read thanks to its light prose, spiced with humor and subtle irony.(Slavic Review) The book stands out among the growing film scholarship on the period by virtue of the fact that its author is an historian, which allows him to contextualize particularly well the films he analyses, and also for its valuable attention to the recent development of Russian cinema as an industry, and how that development has influenced the trajectory of Russian cinema as an art form. . . . Overall, Blockbuster History should be of great interest and value to students and scholars not only of Russian cinema, but of the cultural politics of twenty-first century Russia more generally.(Slavonica) Stephen Norris has produced a valuable book based on extensive research.(History: Reviews of New Books) Stephen Norris's book provides an excellent survey of an important trend in Russian cinema in the last fifteen years: the blockbuster.(The Russian Review) Blockbuster History is not merely a study of the appropriation of a Hollywood genre by Russian cinema, but also, and more importantly, an analysis of modern Russia's political conflicts, protest movements, memory and national identity as seen through the prism of film.(Times Literary Supplement TLS) Norris's writing style has a breeziness that makes all of this material go down easily. Nevertheless, his work is based on impressive and thoroughly cited research.(Film & History) [Norris] offers a compact and legible inventory of the [historic cinematic] experiment . . . .Jan. 2014(H-Soz-u-Kult)

• PrefaceAcknowledgments1. Introduction: Multiplexing RussiaPart 1. The Russia That We Lost2. The First Blockbuster of the New Nation3. Terrorism Then and Now4. Wars and Gambits5. A Requiem for CommunismPart 2. The Price of War6. Mirror of War7. Playing with HistoryPart 3. Back in the USSR8. The Blessed Blockbuster9. The Soviet Horror ShowPart 4. Fantasy Pop History10. Animating the Past11. The Look of Fantasy12. The Business of Patriotism13. The Production of the Past14. Conclusion: Packaging the PastNotesIndex

Stephen M. Norris is Professor of History at Miami University of Ohio. He is author of A War of Images: Russian Popular Prints, Wartime Culture, and National Identity and editor (with Willard Sunderland) of Russia's People of Empire: Life Stories from Eurasia, 1500 to the Present (IUP, 2012).

Blockbuster History in the New Russia . . . should be on the reading list of every student of contemporary Russian culture. . . . The book is a pleasure to read. Norris is an excellent storyteller who appropriately and elegantly introduces thousands of details into his narrative to keep the reader interested.(Slavic and East European Journal) Norris, as a historian, conducts a thorough research study using primary and secondary sources. . . . He assembles a huge amount of materials and organizes them in a logical way, following several tracks but never losing sight of the main argument. For all its complexity, the book is an easy read thanks to its light prose, spiced with humor and subtle irony.(Slavic Review) The book stands out among the growing film scholarship on the period by virtue of the fact that its author is an historian, which allows him to contextualize particularly well the films he analyses, and also for its valuable attention to the recent development of Russian cinema as an industry, and how that development has influenced the trajectory of Russian cinema as an art form. . . . Overall, Blockbuster History should be of great interest and value to students and scholars not only of Russian cinema, but of the cultural politics of twenty-first century Russia more generally.(Slavonica) Stephen Norris has produced a valuable book based on extensive research.(History: Reviews of New Books) Stephen Norris's book provides an excellent survey of an important trend in Russian cinema in the last fifteen years: the blockbuster.(The Russian Review) Blockbuster History is not merely a study of the appropriation of a Hollywood genre by Russian cinema, but also, and more importantly, an analysis of modern Russia's political conflicts, protest movements, memory and national identity as seen through the prism of film.(Times Literary Supplement TLS) Norris's writing style has a breeziness that makes all of this material go down easily. Nevertheless, his work is based on impressive and thoroughly cited research.(Film & History) [Norris] offers a compact and legible inventory of the [historic cinematic] experiment . . . .Jan. 2014(H-Soz-u-Kult)

• PrefaceAcknowledgments1. Introduction: Multiplexing RussiaPart 1. The Russia That We Lost2. The First Blockbuster of the New Nation3. Terrorism Then and Now4. Wars and Gambits5. A Requiem for CommunismPart 2. The Price of War6. Mirror of War7. Playing with HistoryPart 3. Back in the USSR8. The Blessed Blockbuster9. The Soviet Horror ShowPart 4. Fantasy Pop History10. Animating the Past11. The Look of Fantasy12. The Business of Patriotism13. The Production of the Past14. Conclusion: Packaging the PastNotesIndex

Stephen M. Norris is Professor of History at Miami University of Ohio. He is author of A War of Images: Russian Popular Prints, Wartime Culture, and National Identity and editor (with Willard Sunderland) of Russia's People of Empire: Life Stories from Eurasia, 1500 to the Present (IUP, 2012).

Blockbuster History in the New Russia . . . should be on the reading list of every student of contemporary Russian culture. . . . The book is a pleasure to read. Norris is an excellent storyteller who appropriately and elegantly introduces thousands of details into his narrative to keep the reader interested.(Slavic and East European Journal) Norris, as a historian, conducts a thorough research study using primary and secondary sources. . . . He assembles a huge amount of materials and organizes them in a logical way, following several tracks but never losing sight of the main argument. For all its complexity, the book is an easy read thanks to its light prose, spiced with humor and subtle irony.(Slavic Review) The book stands out among the growing film scholarship on the period by virtue of the fact that its author is an historian, which allows him to contextualize particularly well the films he analyses, and also for its valuable attention to the recent development of Russian cinema as an industry, and how that development has influenced the trajectory of Russian cinema as an art form. . . . Overall, Blockbuster History should be of great interest and value to students and scholars not only of Russian cinema, but of the cultural politics of twenty-first century Russia more generally.(Slavonica) Stephen Norris has produced a valuable book based on extensive research.(History: Reviews of New Books) Stephen Norris's book provides an excellent survey of an important trend in Russian cinema in the last fifteen years: the blockbuster.(The Russian Review) Blockbuster History is not merely a study of the appropriation of a Hollywood genre by Russian cinema, but also, and more importantly, an analysis of modern Russia's political conflicts, protest movements, memory and national identity as seen through the prism of film.(Times Literary Supplement TLS) Norris's writing style has a breeziness that makes all of this material go down easily. Nevertheless, his work is based on impressive and thoroughly cited research.(Film & History) [Norris] offers a compact and legible inventory of the [historic cinematic] experiment . . . .Jan. 2014(H-Soz-u-Kult)

• PrefaceAcknowledgments1. Introduction: Multiplexing RussiaPart 1. The Russia That We Lost2. The First Blockbuster of the New Nation3. Terrorism Then and Now4. Wars and Gambits5. A Requiem for CommunismPart 2. The Price of War6. Mirror of War7. Playing with HistoryPart 3. Back in the USSR8. The Blessed Blockbuster9. The Soviet Horror ShowPart 4. Fantasy Pop History10. Animating the Past11. The Look of Fantasy12. The Business of Patriotism13. The Production of the Past14. Conclusion: Packaging the PastNotesIndex