Earticle

초록

영어

From Russian empire and the Soviet Union to the present Russian Federation the historical and cultural task for Russia is how to unite diverse racial and ethnic groups and to establish the firm foundation of sovereignty. Russian cinema which is linked to national projects, in its turn, contributes to create 'the Imaginary construction of a sense of national identity' in various ways. Even going further, from the era of Soviet Union Russian cinema started stepping forward to attempt on integration of Eurasian racial and ethnic groups into single category of 'Sovietness'. In this sense, Vsevolod Pudovkin's film Potomok Chingis-khana (1928) emphasized the socialistic brotherhood between Mongol and Soviet Union along with the Eurasianism which was generated in 1920s. At the same time, Potomok Chingis-khana as a paradigm for the new conventions for reconciling center and periphery would play an important part to justify the imperial tendency of Soviet Union by embracing Mongolian as new socialistic Eurasian hero. Most intriguingly of all, a series of contemporary Russian films propagate the myth of Eurasian heroes who were integrated into Russian cultural field. Thus, Nikita Mikhalkov's film Urga, Territory of Love (1991), Sergei Bodrov's film Kochevnik (2006), Mongol (2007) and Andei Borisov's Secret of Chingis Khan (2009) should be classified as such films which unite across the spatial divide of Europe and Asia according to Neo-Eurasianism by territorialization of myth and ‘imagined community’.

목차

Ⅰ. 들어가는 말
 Ⅱ. 아시아를 뒤덮은 폭풍 - <칭기즈칸의 후예>
  1. 몽골과 유라시아주의
  2. 소비에트 영토화의 기호적 의미작용
 Ⅲ. 아시아 영토화의 은밀한 기획
 Ⅳ. 맺는 말
 참고문헌
 논문초록

키워드

저자

• 이희원 [ Lee, Hee-Won | 한국외국어대학교 외국문학연구소 HK교수 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  동북아 문화연구 [Journal of North-east Asian Cultures]

• 간기

  계간

• pISSN

  1598-3692

• 수록기간

  2001~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 910 DDC 950