- Title Pages
- Notes on the Contributors
- Introduction: Filming Russian Classics—Challenges and Opportunities
- Chapter 1 Across the Russian Border
- Chapter 2 Dostoevskii’s “White Nights”: The Dreamer Goes Abroad
- Chapter 3 On Not Showing Dostoevskii’s Work: Robert Bresson’s <i>Pickpocket</i>
- Chapter 4 Stealing the Scene: Crime as Confession in Robert Bresson’s <i>Pickpocket</i>
- Chapter 5 The <i>Eye</i>-deology of Trauma: Killing Anna Karenina Softly
- Chapter 6 “A Vicious Circle”: Karen Shakhnazarov’s <i>Ward no. 6</i>
- Chapter 7 A Slap in the Face of American Taste: Transporting <i>He Who Gets Slapped</i> to American Audiences
- Chapter 8 Against Adaptation? The Strange Case of (Pod) <i>Poruchik Kizhe</i>
- Chapter 9 Chasing the Wealth: The Americanization of Il’f and Petrov’s <i>The Twelve Chairs</i>
- Chapter 10 Fassbinder’s Nabokov—From Text to Action:Repressed Homosexuality, Provocative Jewishness, and Anti-German Sentiment
- Chapter 11 “The Soviet Abroad (That We Lost)”: The Fate of Vasilii Aksenov’s Cult Novel <i>A Starry Ticket</i> on Paper and on Screen
- Conclusion: Passport Control—Departing on a Cinematic Journey
- Border Crossing
- Alexander Burry, Frederick H. White
- Edinburgh University Press
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