Russian cinema has often returned to its traditions in order to explore ways forward, and nowhere is this truer than in the historical film. Originally seen as a means of legitimizing the (Soviet) present, the cinematic investigation of history has tended in recent years not only to
debunk past ideologies, but also to create new myths as pointers to the future. Directors whose recent work is included in this study are Nikita Mikhalkov, Andrei Konchalovskii, Pavel Chukhrai, Alexander Sokurov and Gleb Panfilov.
The journal aims to provide a platform for the study of new forms of cinematic practice and fresh approaches to cinemas hitherto neglected in western scholarship. It particularly welcomes scholarship that does not take existing paradigms and theoretical conceptualisations as given; rather, it anticipates submissions that are refreshing in approach and exhibit a willingness to tackle cinematic practices that are still in the process of development into something new.