This is a list of TV series that were made and shown in the Soviet Union and Russia. It does not include foreign-made imports.
This book examines television culture in Russia under the government of Vladimir Putin. In recent years, the growing influx into Russian television of globally mediated genres and formats has coincided with a decline in media freedom and a ratcheting up of government control over the content style of television programmes. All three national channels (First, Russia, NTV) have fallen victim to Putinâs power-obsessed regime. Journalists critical of his Chechnya policy have been subject to harassment and arrest; programmes courting political controversy, such as Savik Shusterâs Freedom of Speech (Svoboda slova) have been taken off the air; coverage of national holidays like Victory Day has witnessed a return of Soviet-style bombast; and reporting on crises, such as the Beslan tragedy, is severely curtailed. The book demonstrates how broadcasters have been enlisted in support of a transparent effort to install a latter-day version of imperial pride in Russian military achievements at the centre of a national identity project over which, from the depths of the Kremlin, Putinâs government exerts a form of remote control. However, central to the book's argument is the notion that because of the changes wrought upon Russian society after 1985, a blanket return to the totalitarianism of the Soviet media has, notwithstanding the tenor of much western reporting on the issue, not occurred. Despite the fact that television is nominally underÂ state control, that control remains remote and less than wholly effective, as amply demonstrated in the audience research conductedÂ for the book, and in analysis of contradictions at the textual level.Â Overall, this book provides a fascinating account of the role of television under President Putin, and will be of interest to all those wishing to understand contemporary Russian society.
As a new president takes power in Russia, this book provides an analysis of the changing relationship between control of Russian television media and presidential power during the tenure of President Vladimir Putin. It argues that the conflicts within Russiaâs political and economic elites, and President Putinâs attempts to rebuild the Russian state after its fragmentation during the Yeltsin administration, are the most significant causes of changes in Russian media. Tina Burrett demonstrates that President Putin sought to increase state control over television as part of a larger programme aimed at strengthening the power of the state and the position of the presidency at its apex, and that such control over the media was instrumental to the success of the presidentâs wider systemic changes that have redefined the Russian polity.
The book also highlights the ways in which oligarchic media owners in Russia used television for their own political purposes, and that media manipulation was not the exclusive preserve of the Kremlin, but a common pattern of behaviour in elite struggles in the post-Soviet era. Basing its analysis predominately on interviews with key players in the Moscow media and political elites, and on secondary sources drawn from the Russian and Western media, the book examines broad themes that have been the subject of constant media interest, and have relevance beyond the confines of Russian politics.
African-language writing is in crisis. The conditions under which African writing developed in the past (only remotely similar to those of Western models), resulted in an inability of Eurocentric literary models to explore the hermeneutic world of African language poetics inherited from the oral and the modern worlds. Existing modes of criticism in the study of this literary tradition are often unsuited for a nuanced understanding of the intrinsic and extrinsic aspects at play in the composition, production and reading of these literatures. In African-Language Literatures, Innocentia Jabulisile Mhlambi charts new directions in the study of African-language literatures generally, and isiZulu fiction in particular. She proposes that African popular arts and culture models be considered as a solution to the debates and challenges informing discourses about expressive forms in African languages. Mhlambi shows how this approach brings into relationship the oral and written forms, the local and the international, and elitist and popular genres, and she places the resultant emerging, eclectic culture into its socio-historical context. She then uses this theoretical approach to exploreâ in a wide range of cultural productsâwhat matters or what is of interest to the people, irrespective of social hierarchies and predispositions. It is the authorâs contention that, contrary to common perception, the African-language literary tradition displays diversity, complexity and fluidity, and that this should be seen as an invitation to look at systems of meaning which do not hide their connections with the facts of power and material life.