Adaptation as a symptom. Russian classics on the post -Soviet screen

To date, the post -Soviet cinema has at least six Anna Karenina"s adaptations, four interpretations "meek", four variants of “demons "and four versions of the“ three sisters". Why are the directors so stubbornly choose the same works of Pushkin, Gogol, Tolstoy, Dostoevsky and Chekhov for the film adaptation? Does the director open new semantic faces of canonical authors or addresses the famous works, counting on their immediate recognition? What cultural, social and political processes are the symptom of numerous reinterpretations of classics?
The book of Lyudmila Fedorova offers a systematic review of the post -Soviet adaptations of Russian classics, most often filming in the last three decades. The author shows that it was in adapted texts that made them so demanded after the collapse of the communist space.
Lyudmila Fedorova - philologist and culturologist, professor of Georgetown University (USA)