Introduction - Lida Oukaderova Part One. Late Socialism: Cinema, Ideology Subjectivity Chapter 1. Larisa Shepitko at VGIK and in Soviet and Post-Soviet Archives and Press - Nina Sputnitskaya Chapter 2. Larisa Shepitko, Aleksei German, and the Trials and Tribulations of Post-Thaw Soviet Filmmaking - Tim Harte Part Two. Intermediality: From Word to Image Chaptee 3. Ghosts of the Present Past: The Wings (1966), From the Script by Natalia Riazantseva and Valentin Ezhov to the Film by Larisa Shepitko - Eugénie Zvonkine Chapter 4 . The Ordeal and the Ascent - Karla Oeler Part Three. The Materiality of Moving Images Chapter 5.

The Revolutionary Past as Environment: Rain, Dust, and Faces in The Homeland of Electricity - Viktoria Paranyuk Chapter 6. The Senselessness of the Heroic Act and the Experience of War in The Ascent - Elizabeth A. Papazian Part Four. Time, Memory, Temporality Chapter 7. White on White and The Black Square : Shepitko's The Ascent , Stan Brakhage, and Cinematic Abstraction - Anne Eakin Moss Chapter 8 . Liquid Time: The Homeland of Electricity as Unprocessed Trauma - Lilya Kaganovsky Part Five. Landscape and Environment Chapter 9. Methods of Conquest: Larisa Shepitko's Heat , Soviet Russian Colonialism, and the Representation of Virgin Lands Campaign in Soviet Cinema of the 1950s-60s - Zdenko Mandusic Chapter 10 .

Larisa Shepitko's Ecologies - Lida Oukaderova Chapter 11. The Shepitko Sky: Larisa Shepitko's Meteorological Cinema of Immersion, Wonder, and Openness - Raymond De Luca Part Six. Shepitko in Post-Soviet Cinema Chapter 12. The White, the Black, and the Gray: The Problem of Choice in Larisa Shepitko's The Ascent and Sergei Loznitsa's In the Fog - Sergey Toymentsev.