GOVT 4000.105 (Spring 2024): Russia's Wars: Home

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This book analyzes the evolution of Russian military thought and how Russia's current thinking about war is reflected in recent crises. While other books describe current Russian practice, Oscar Jonsson provides the long view to show how Russian military strategic thinking has developed from the Bolshevik Revolution to the present. He closely examines Russian primary sources including security doctrines and the writings and statements of Russian military theorists and political elites. What Jonsson reveals is that Russia's conception of the very nature of war is now changing, as Russian elites see information warfare and political subversion as the most important ways to conduct contemporary war. Since information warfare and political subversion are below the traditional threshold of armed violence, this has blurred the boundaries between war and peace. Jonsson also finds that Russian leaders have, particularly since 2011/12, considered themselves to be at war with the United States and its allies, albeit with non-violent means. This book provides much needed context and analysis to be able to understand recent Russian interventions in Crimea and eastern Ukraine, how to deter Russia on the eastern borders of NATO, and how the West must also learn to avoid inadvertent escalation.

This book offers the first analysis of the brutalisation paradigm in counter-insurgency warfare. Minimising the use of force and winning over the population's opinion is said to be the cornerstone of success in modern counterinsurgency (COIN). Yet, this tells only one side of the story. Drawing upon primary data collected during interviews with eyewitnesses of the Second Russian-Chechen War, as well as from secondary sources, this book is the first to offer a detailed analysis of the long-neglected logic underpinning brutalisation-centred COIN campaigns. It offers a comprehensive systematisation of the brutalisation paradigm and challenges the widespread assumption of brutalisation as an underperforming paradigm of COIN warfare. It shows that, although appalling, brutalisation-centred measures can deliver success. The book also outlines a stigmatised yet widely deployed set of COIN measures and provides critical insights into how Western military blueprints can be improved without compromising important moral and ethical requirements. This book will be of much interest to students of counterinsurgency, military and strategic studies, Russian politics, and International Relations.

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This book explores the mythology woven around the Soviet secret police and the Russian cult of state security that has emerged from it. Tracing the history of this mythology from the Soviet period through to its revival in contemporary post-Soviet Russia, the volume argues that successive Russian regimes have sponsored a 'cult' of state security, whereby security organs are held up as something to be worshipped. The book approaches the history of this cult as an ongoing struggle to legitimise and sacralise the Russian state security apparatus, and to negotiate its violent and dramatic past. It explores the ways in which, during the Soviet period, this mythology sought to make the existence of the most radically intrusive and powerful secret police in history appear 'natural'. It also documents the contemporary post-Soviet re-emergence of the cult of state security, examining the ways in which elements of the old Soviet mythology have been revised and reclaimed as the cornerstone of a new state ideology. The Russian cult of state security is of ongoing contemporary relevance, and is crucial for understanding not only the tragedies of Russia's twentieth-century history, but also the ambiguities of Russia's post-Soviet transition, and the current struggle to define Russia's national identity and future development. The book examines the ways in which contemporary Russian life continues to be shaped by the legacy of Soviet attitudes to state-society relations, as expressed in the reconstituted cult of state security. It investigates the shadow which the figure of the secret policeman continues to cast over Russia today. The book will be of great interest to students of modern Russian history and politics, intelligence studies and security studies, as well as readers with an interest in the KGB and its successors.

D'Anieri explores the dynamics within Ukraine, between Ukraine and Russia, and between Russia and the West, that emerged with the collapse of the Soviet Union and eventually led to war in 2014. Proceeding chronologically, this book shows how Ukraine's separation from Russia in 1991, at the time called a 'civilized divorce', led to what many are now calling 'a new Cold War'. He argues that the conflict has worsened because of three underlying factors - the security dilemma, the impact of democratization on geopolitics, and the incompatible goals of a post-Cold War Europe. Rather than a peaceful situation that was squandered, D'Anieri argues that these were deep-seated pre-existing disagreements that could not be bridged, with concerning implications for the resolution of the Ukraine conflict. The book also shows how this war fits into broader patterns of contemporary international conflict and should therefore appeal to researchers working on the Russia-Ukraine conflict, Russia's relations with the West, and conflict and geopolitics more generally.

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This volume explores the cinema of the former Soviet Union and contemporary Russia, ranging from the pre-Revolutionary period to the present day. It offers an insight into the development of Soviet film, from 'the most important of all arts' as a propaganda tool to a means of entertainment in the Stalin era, from the rise of its 'dissident' art-house cinema in the 1960s through the glasnost era with its broken taboos to recent Russian blockbusters. Films have been chosen to represent both the classics of Russian and Soviet cinema as well as those films that had a more localised success and remain to date part of Russia's cultural reference system. The volume also covers a range of national film industries of the former Soviet Union in chapters on the greatest films and directors of Ukrainian, Kazakh, Georgian and Armenian cinematography. Films discussed include Strike (1925), Earth (1930), Ivan's Childhood (1962), Mother and Son (1997) and Brother (1997).

This wide-ranging collection investigates the father/son dynamic in post-Stalinist Soviet cinema and its Russian successor. Contributors analyze complex patterns of identification, disavowal, and displacement in films by such diverse directors as Khutsiev, Motyl', Tarkovsky, Balabanov, Sokurov, Todorovskii, Mashkov, and Bekmambetov. Several chapters focus on the difficulties of fulfilling the paternal function, while others show how vertical and horizontal male bonds are repeatedly strained by the pressure of redefining an embattled masculinity in a shifting political landscape.

"Memetic War analyses memetic warfare, included in cyber war and aims to develop a framework for understanding the parameters included in utilising this concept in Ukraine as a part of civic resistance. In the Ukrainian war, an informal defence tactic has developed to uphold the information flow about the war and to debunk Russia's communications. The war has enhanced the visibility of governmental and civic activation by using the advantages of social media architecture, networks and communication forms. The book investigates Ukraine's public and private abilities to develop cyber capabilities to counter propaganda and dis-misinformation online as a defence mechanism.

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War movies have long been the most influential genre in Russian cinema, so much so that in the Soviet Union's militaristic society, "cinema front" was used to describe the film industry itself. Denise J. Youngblood, an internationally recognized authority on Russian and Soviet cinema, provides the first comprehensive guide to this long-neglected genre....She brings the story to the present by showing how post-Soviet Russian filmmakers have not only turned a critical eye on the recent wars in Afghanistan and Chechnya but are also revisiting the complex realities of World War II.