DOCSLIB.ORG

16/10/2017 LIBRARY Rds 651-700 1 Call Number RD-651

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

16/10/2017 LIBRARY RDs 651-700 1 Call number RD-651 DYKHOVICHNYI, Ivan Chernyi monakh [The Black Monk] Tvorcheskoe ob´´edinenie Ritm, Mosfil´m, 1988 Producer: Nikolai Garo Screenplay: Ivan Dykhovichnyi, Sergei Solov´ev, from the story by Anton Chekhov Photography: Vadim Iusov Production design: Liudmila Kusakova Music: Beethoven, Mahler, Teimuraz Bakuradze Kovrin Stanislav Liubshin Tania Tat´iana Drubich (voiced by Marina Neelova) Pesotskii (her father) Petr Fomenko Varvara Nikolaevna Liubov´ Seliutina Doctor Viktor Shternberg 83 minutes In Russian Source: ORT, Pervyi kanal. Vsemirnaia set´, 16 March 2014 System: Pal 16/10/2017 LIBRARY RDs 651-700 2 Call number RD-652 Belaia studiia. Aleksandr Lazarev mladshii [The White Studio. Aleksandr Lazarev Jr] MB grupp prodakshn, for GTRK Kul´tura, 2013 Interviewer: Dar´ia Spiridonova With the participation of: Aleksandr Lazarev mladshii 38 minutes In Russian RTR Planeta, 7 June 2013 AND KIASASHVILI, Ivan Privet s fronta [Greetings from the Front] Tvorcheskoe ob´´edinenie Ekran Gosteleradio SSSE, 1983: TV premiere 20 June 1983 Screenplay: Viacheslav Kondrat´ev Photography: Lev Bunin Production design: Valentina Brusina Music: Vladislav Shut´ Nina Elena Shilkina Olia Elena Maiorova Alla Natal´ia Moleva Klavdiia Ianina Lisovskaia Misha Voskoboinikov Aleksandr Galibin Petia Laptev Andrei Smoliakov Vania-Meditsina Aleksandr Kuznetsov “Papasha” Ivan Bortnik Janitor Ernst Romanov Photographer Aleksandr Sirin Vera Galina Anisimova Artur Egon Nuter Ivan Petrovich Vasilevich Vladimir Zemlianikin Captain Kornilov Vsevolod Abdulov Irina Kornilova Svetlana Akimova Nurse Galina Bulgakova Wounded soldier Nikolai Volkov Tania Irina Gorokhova Wounded soldier Aleksei Kudinovich Wounded soldier Aleksandr Marin Nurse Mariia Ovchinnikova Tat´iana, a nurse Ol´ga Spirkina Nanny Aleksandra Kharitonova Volodia, a wounded soldier Nikolai Kholoshin Wounded soldier Viktor Fokin Vedernikov’s letters read by Andrei Tashkov Approx 76 minutes In Russian 16/10/2017 LIBRARY RDs 651-700 3 RTR Planeta, 23 February 2014 Source: RTR Planeta, 7 June 2013 and 23 February 2014 System: Pal 16/10/2017 LIBRARY RDs 651-700 4 Call number RD-653 RAZUMOVSKII, Andrei Predvaritel´noe rassledovanie [Preliminary Investigation] Mosfil´m, Chetvertoe tvorcheskoe ob´´edinenie, 1978; released 1 October 1978 Screenplay: Boris Mozhaev Photography: Boris Brozhovskii Production design: Nikolai Usachev Music: Igor´ Efremov Song lyrics: Leonid Derbenev Police Captain Vasilii Serezhkin Valerii Zolotukhin Ivan Chubatov Iurii Nazarov Dar´ia, Chubatov’s fiancée Nadezhda Repina Pavel Boborykin Vladimir Gostiukhin Uncle Fedot Viktor Shul´gin Arche Maksim Munzuk Nikolai Savel´ev, the prosecutor Valentin Grachev Police Chief Georgii Iumatov Fedor Aleksandrovich, the Head of the Regional Executive Committee of the Party Oleg Golubitskii Vsevolod Nikolaevich, the First Secretary of the Regional Executive Committee of the Party Ivan Savkin Vasilii Zav´ialov Leonid Chubarov Tat´iana, Serezhkin’s wife Alla Meshcheriakova Sol´d Semenovich Kialundziga Iurii Il´ianov Vilkov, the bearded lumberjack Vladimir Razumovskii Semynin, a lumberjack Semen Safonov Secretary at the Regional Executive Committee of the Party Iia Arepina Approx. 89 minutes In Russian Source: ORT, Pervyi kanal. Vsemirnaia set´, 3 May 2014 System: Pal 16/10/2017 LIBRARY RDs 651-700 5 Call number RD-654 Na balu u Volanda. Missia v Moskve [At Woland’s Ball. A Mission to Moscow] A film about the America Ambassador in Moscow in the late 1930s, Joseph Edward Davies and his Mission to Moscow in May 1943 Telekompaniia Naobum, for VGTRK, 2013 Producer: Aleksei Gorovatskii Producer for Telekanal Rossiia: Vladimir Solov´ev Directors: Tat´iana Malova, Viktor Oushchenko Script: Sergei Barabanov Photography: Vladimir Merkulov, Viacheslav Gusev, Valentin Khalturin Music: Vladimir Romanychev Narrators: Igor´ Taradaikin. Natal´ia Grinshpun With the participation of: Vladimir Pechatnov, Mia Grosjean (Joseph Davies’s granddaughter), Celestine Bohlen, William vanden Heuvel, Niklas Burlak, Viktor Mal´kov 44 minutes In Russian RTR Planeta, 10 April 2014 AND KRISHTOFOVICH, Viacheslav Melochi zhizni [The Trivia of Life] Kinostudiia imeni Aleksandra Dovzhenko, po zakazu Gosudarstvennogo komiteta Soveta ministrov SSSR po televideniiu i radioveshchaniiu, Tvorcheskoe ob´´edinenie Luch, 1980; TV premiere 11 August 1981 Screenplay: Ramiz Fataliev, Viacheslav Krishtofovich Photography: Vilen Kaliuta Production design: Larisa Zhilko Music: Vadim Khrapachev Natasha Bunina Ol´ga Ostroumova Sasha Bunin Anatolii Grachev Dacha owner Vladimir Necheporenko Registry Office worker Kseniia Nikolaeva With: Aleksandr Vokach, Aleksei Levchenko Approx. 66 minutes In Russian RTR Planeta, 27 April 2014 Source: RTR Planeta, 10 and 27 April 2014 System: Pal 16/10/2017 LIBRARY RDs 651-700 6 Call number RD-655 PETROV, Aleksandr Moia liubov´ [My Love] Pervyi kanal, DAGO-fil´m, Dentsu Tech. Inc., with the support of the Federal´noe agentstvo po kul´ture i kinematografii, 2006 Producers: Konstantin Ernst, Dmitrii Iurkov, Keinichi Miura, Takashi Yoshimura Screenplay: Aleksandr Petrov, with Mikhail Tumelia, Tat´iana Pavlovich Photography: Sergei Reshetnikov Production design: Aleksandr Petrov Voices: Ekaterina Afrikantova, Ekaterina Vinogradova, Sergei Garmash, Mikhail Georgiu, Anastasiia Dobryninam, Aleksandra Zhivova, Evgeniia Kriukova, Mikhail Lukashov, Grigorii Malkov, Nikolai Malikov, Aleksandr Oleshko, Nina Ruslanova 26 minutes In Russian ORT, Pervyi kanal. Vsemirnaia set´, 30 April 2014 AND “Tri plius dva”. Versiia kurortnogo romana’ [“Three Plus Two”. A Version of a Resort Romance] Pervyi kanal, 2014 Producers: Dar´ia Pimanova, Oleg Vol´nov Director: Andrei Lukov Script and Head of Project: Dar´ia Pimanova Photography: Aleksei Trekalov, Elizaveta Golovina, Vitalii Tokarev, Denis Smirnov Reporter: Mikhail Grushevskii Narrator: Dmitrii Polonskii With the participation of: Natal´ia Fateeva, Gennadii Nilov, Aleksei Nilov (Gennadii Nilov’s son), Elizaveta Nilova (his granddaughter), Evgenii Zharikov (archive), Natal´ia Kustinskaia (archive), Sergei Mikhalkov (archive) 60 minutes In Russian ORT, Pervyi kanal. Vsemirnaia set´, 8 June 2014 Source: ORT, Pervyi kanal. Vsemirnaia set´, 30 April and 8 June 2014 System: Pal 16/10/2017 LIBRARY RDs 651-700 7 Call number RD-656 Belaia studiia. Evgenii Mironov [The White Studio. Evgenii Mironov] MB grupp prodakshn, for GTRK Kul´tura, 2014 Interviewer: Dar´ia Spiridonova With the participation of: 40 minutes In Russian RTR Planeta, 9 August 2014 AND Drugie berega. Dzhordzh Balanchin [Other Shores. George Balanchine] BiSiBiDzhi Prodakshens, for Telekanal Rossiia-Kul´tura, 2014 Producer: Ketevan Zhgenti Director: Ol´ga Zhgenti Script: Ol´ga Zhgenti Narrator: Stanislav Natenadze With the participation of: Andria Balanchivadze (George Balanchine’s brother, archive), Ketevan Machavariani (a relative of George Blanchine), Tsiskari Balanchivadze (his niece), Andrei Kramarevskii, Peter Martins, Nino Ananiashvili, Pavel Gershenzon, Francia Russell, Natal´ia Vainberg, Kent Stowell, Vida Brown, Barbara Milberg, Barbara Horgan, Glbat Toradze, Zurab Dzhavakhadze, Nino Kirvalidze, Karin von Aroldingen, Kay Mazzo 39 minutes In Russian RTR Planeta, 10 August 2014 Source: RTR Planeta, 9 and 10 August 2014 System: Pal 16/10/2017 LIBRARY RDs 651-700 8 Call number RD-657 MEL´NIKOV, Vitalii Chuzhaia zhena i muzh pod krovat´iu [Someone Else’s Wife and the Husband under the Bed] Lenfil´m, Tvorcheskoe ob´´edinenie televizionnykh fil´mov, 1984 Screenplay: Vladimir Valutskii, based on early stories by Dostoevkii Photography: Iurii Veksler Production desgn: Isaak Kaplan Music: Timur Kogan The Teatr sovremennogo baleta led by Boris Eifman Ivan Andreevich Oleg Tabakov Aleksandr Dem´ianovich Oleg Efremov Liza Marina Neelova Tvorogov Nikolai Burliaev Unknown man under the bed Stanislav Sadal´skii Glafira Petrovna Marina Shimanskaia Bobynitsyn Iurii Bogatyrev Actor at opera Gali Abaidulov Yardman Iu. Volynskii Servant Tat´iana Zakharova Owner of salon / Visitor to café Valentina Muradova Efrosin´ia Marina Rozhdestvenskaia Opera actress Elena Rubin Serge Leonid Tikhomirov His companion Tat´iana Tolubeeva 65 minutes In Russian RTR Planeta, 23 March 2014 AND Tragediia Galitskoi Rusi. Kontslager´ tol´ko dlia russkikh [The Tragedy of Galician Rus´. A Concentration Camp Only for Russians] Studiia istoricheskogo dokumental´nogo kino, Studiia Grad, for VGTRK, 2010 Producer: Vasilii Iakovlev Director: Aleksei Denisov Author: Aleksei Denisov Presenter: Aleksei Denisov Photography: Iurii Moiseev Reader: Mikhail Zelenskii With the participation of: Georg Hoffmann, Hannes Leidinger, Vladimir Krushinskii, Philipp Lesiak, Dieter-Anton Binder, Mariia Omeliuk, Archpriest Iaroslav Ogeruk 44 minutes In Russian RTR Planeta, 25 March 2014 Source: RTR Planeta, 23 and 25 March 2014 16/10/2017 LIBRARY RDs 651-700 9 System: Pal 16/10/2017 LIBRARY RDs 651-700 10 Call number RD-658 Peshkom. Moskva kinoshnaia [On Foot. Cinematic Moscow] A film about the Moscow locations of Stanislav Govorukhin’s Mesto vstrechi izmenit´ nel´zia, Leonid Gaidai’s Operatsiia “Y” , Filipp Iankovskii’s Statskii sovetnik , Karen Shakhnazarov’s Bely tigr, Tat´iana Lukashevich’s Podkidysh , Mikhail Kozakov’s Pokrovskie vorota and Vladimir Bortko’s Master i Margarita Mag TV, for GTRK Kul´tura, 2012 General producer: Anatolii Malkin Director: Ol´ga Krotova Author: Mikhail Zhebrak Photography: Anatolii Marfel´ Presenter: Mikhail Zhebrak 26 minutes In Russian; starts 10 minutes into tape RTR
Recommended publications
  • 16/10/2017 LIBRARY Rds 701-800 1 Call Number RD-701 KHEIFITS

    16/10/2017 LIBRARY Rds 701-800 1 Call Number RD-701 KHEIFITS

    16/10/2017 LIBRARY RDs 701-800 1 Call number RD-701 KHEIFITS, Iosif Edinstvennaia [The Only One] Lenfil´m, Pervoe tvorcheskoe ob´´edinenie, 1975; released 17 March 1976 Screenplay: Pavel Nilin, Iosif Kheifits, from Nilin’s story ‘Dur´’ Photography: Genrikh Marandzhian Production design: Vladimir Svetozarov Music: Nadezhda Simonian Song written by: Vladimir Vysotskii Nikolai Kasatkin Valerii Zolotukhin Taniusha Fesheva Elena Proklova Natasha Liudmila Gladunko Boris Il´ich Vladimir Vysotskii Maniunia Larisa Malevannaia Iura Zhurchenko Viacheslav Nevinnyi Anna Prokof´evna, Nikolai’s mother Liubov´ Sokolova Grigorii Tatarintsev Vladimir Zamanskii Judge Valentina Vladimirova Ivan Gavrilovich Nikolai Dupak Scientist Aleksandr Dem´ianenko Train passenger Svetlana Zhgun Tachkin Mikhail Kokshenov Train passenger Efim Lobanov Wedding guest Petr Lobanov Black marketer Liubov´ Malinovskaia Anna Vil´gel´movna Tat´iana Pel´ttser Member of druzhina Boris Pavlov-Sil´vanskii Tania’s friend Liudmila Staritsyna Serega Gelii Sysoev Lekha Aleksandr Susnin Head Chef of the Uiut restaurant Arkadii Trusov 90 minutes In Russian Source: RTR Planeta, 13 March 2015 System: Pal 16/10/2017 LIBRARY RDs 701-800 2 Call number RD-702 SAKHAROV, Aleksei Chelovek na svoem meste [A Man in His Place] Mosfil´m, Tvorcheskoe ob´´edinenie Iunost´, 1972; released 28 May 1973 Screenplay: Valentin Chernykh Photography: Mikhail Suslov Production design: Boris Blank Music: Iurii Levitin Song lyrics: M. Grigor´ev Semen Bobrov, Chairman of the Bol´shie bobry kolkhoz Vladimir Men´shov
  • Russia's Identity Relations with Europe, the EU, and the United States: 1991-2007 Ted Hopf, Ohio State University August 2007 Hopf.2@Osu.Edu

    Russia's Identity Relations with Europe, the EU, and the United States: 1991-2007 Ted Hopf, Ohio State University August 2007 [email protected]

    Russia's Identity Relations with Europe, the EU, and the United States: 1991-2007 Ted Hopf, Ohio State University August 2007 [email protected] One can identify several waves of Russian identity relations with the world since 1991. These periods are 1992, 1993-2001 2001-5, and 2005-present. In the first period, there was, simply speaking, a Liberal identification with the West, in particular the United States. This was rapidly supplanted by a Centrist identification with the West, in particular with Europe, but also with an idealized Soviet past and an emerging Russian uniqueness. 911 cemented this Centrist identity, while simultaneously reinforcing a proto-Soviet identification with the US as the other superpower in the Global War On Terror (GWOT). Finally, since about 2005, a Russian dis-identification has occurred with both Europe and the US, and a growing stress on Russia as Russia has emerged. Russia’s Identities from 1991-911 There were three main discourses on Russian identity in the 1990s in Moscow: liberal, conservative, and centrist. The categorizations in Table One compare each discourse and its elements of identification. Each understood Russia with respect to internal, external, and historical Others.1 Liberals identified Russia’s future, at first with the American, and then with the European, present. They identified against the Soviet past and against the internal representation of that Other: the conservative discourse of communists and far right national patriots. They recognized the weakness of the Moscow federal centre vis-à-vis its 89 federal subjects, but felt economic prosperity within a democratic market economy would secure Russia from threats.
  • Download Thesis

    Download Thesis

    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991.
  • Uva-DARE (Digital Academic Repository)

    Uva-DARE (Digital Academic Repository)

    UvA-DARE (Digital Academic Repository) Tales of Russianness: Post-Soviet identity formation in popular film and television Souch, I.S. Publication date 2015 Document Version Final published version Link to publication Citation for published version (APA): Souch, I. S. (2015). Tales of Russianness: Post-Soviet identity formation in popular film and television. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:29 Sep 2021 TALES OF RUSSIANNESS POST-SOVIET IDENTITY FORMATION IN POPULAR FILM AND TELEVISION IRINA SOUCH UNIVERSITY OF AMSTERDAM 2015 Tales of Russianness: Post-Soviet Identity Formation in Popular Film and Television ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr.
  • Marina Davydova: Some Thoughts on Russian Theatre at the Turn of the Century

    Marina Davydova: Some Thoughts on Russian Theatre at the Turn of the Century

    rtlb.ru russian theatre life in brief Marina DavyDova: Some ThoughTS on RuSSian Theatre aT The TuRn of The CenTuRy January 2008 White Dresses. “ouR pRoduCTionS aRe abSoluTely Safe.” The Russian theatre of the past decade has Throughout the nineties the Russian theatre been largely drawn into the orbit of the theatre existed in a distinctive kind of ghetto, making of Europe. Or it is rather the other way around – no attempts to digest aesthetically the rapidly European drama has turned out of the blue to changing reality: we are here all by ourselves, occupy the Russian theatre space to the effect all dressed in white, while the reality stinks of considerably changing the local theatrical and has nothing to do with us. Paradoxical as landscape. In terms of major theatrical forums it may sound, in the post-perestroika period Moscow has lately left far behind all the capi- we could claim to have Europe’s most asocial tals and mega cities of the world: the Chekhov public and theatre. In the Soviet times theatre Festival, the Territory, the NET, the Stanislavsky managed to substitute, no matter how clum- Season to mention just a few. In the context sily, for the civil society. But it clearly failed to of the current guest tour hullabaloo even the become an integral component of this spring- Golden Mask that is by definition (“national the- ing up new society that was offering a wider atre award and festival”) prescribed to cultivate range of freedoms. predominantly the national stage has scaled up The social and political affectation somehow to acquire the European dimension by bringing ran dry as the long-standing rules of play- along the productions of overseas dignitaries.
  • This Is the Published Version of a Chapter Published in Russische Und Sowjetische Geschichte Im Film

    This Is the Published Version of a Chapter Published in Russische Und Sowjetische Geschichte Im Film

    http://www.diva-portal.org This is the published version of a chapter published in Russische und Sowjetische Geschichte im Film: Von Väterchen Zar, tragischen Helden, russischen Revolutionären und "kalten Krieger"n. Citation for the original published chapter: Kotljarchuk, A. (2016) Invisible Victims: The Cold War and Representation of the Roma Genocide in Soviet Feature Films, Teleplays and Theater Performances. In: Alexander Friedman ; Frank Jacob (ed.), Russische und Sowjetische Geschichte im Film: Von Väterchen Zar, tragischen Helden, russischen Revolutionären und "kalten Krieger"n (pp. 129-150). New York: ALTIJA N.B. When citing this work, cite the original published chapter. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32100 Powered by TCPDF (www.tcpdf.org) RUSSISCHE UND SOWJETISCHE GESCHICHTE IM FILM Von bolschewistischen Revolutionären, antifaschistischen Widerstandskämpfern, jüdischen Emigranten und „Kalten Kriegern“ Alexander FRIEDMAN und Frank JACOB (Hrsg.) New York Geschichte und Film, Bd. 1 Hrsg. Frank JACOB und Alexander FRIEDMAN Alexander Friedman und Frank Jacob: Russische und Sowjetische Geschichte im Film: Von bolschewistischen Revolu- tionären, antifaschistischen Widerstandskämpfern, jüdischen Emigranten und „Kalten Kriegern“ © ALTIJA, Frank Jacob, New York 2016. Coverdesign: Judith Weber / Smakelig ISBN: 978-1541360853 Inhaltsverzeichnis 1. Kino als „wichtigste aller Künste“: Einleitung Alexander FRIEDMAN und Frank JACOB 5 2. „Das weite Land und die Reichtümer der Rus lockten die Eroberer an“ – Das bedrohte Russland im Film Alexander QUERENGÄSSER 15 3. The Images of Dying and New Jewish Worlds in the Soviet Ci- nema: “The Jews on the Land” versus “Jewish Luck (Menachem Mendel)” Andrei ZAMOISKI 33 4. „Kube, Hitlers Gauleiter in Minsk, war der leibhaftige Teufel“.
  • Star in 'Tsar'

    Star in 'Tsar'

    MOSCOW OCTOBER 2009 www.passportmagazine.ru Ballets Russes in Moscow Playground of the People – VDNKh Update on Russian Wines Peter Mamonov and Oleg Yankovsky star in ‘Tsar’ Contents 4 What’s On In October 7 October Holidays 8 Previews 11 Theater 11 12 Ballet Ballets Russes in Moscow 14 Film Peter Mamonov as Ivan the Terrible in Tsar 16 Art Moscow Biennale 14 20 Architecture VDNKh 22 Media The English Language Press 24 Travel Yakutia 24 28 Restaurant Review Osteria Montiroli 30 Wine Tasting Russian Wine Country Update 32 Book Review The Quest for Radovan Karadzic 30 33 Out & About 36 Real Estate Prospekt Mira 40 Community Football: From Journalist to Footballist 40 42 Columns Real Estate Relocation Financial Overview 45 Viewpoint Michael Romanov’s Diary Flintstone 45 48 Distribution List October 2009 3 Letter from the Publisher Beauty Center in Baltschug Kempinski Reopens The beauty salon: Beauty Center Baltschug has reopened. The center guarantees the highest standard of service, English-speaking staff and sensible pricing. This is exactly what business people who need the best possible service need! We provide excellent cosmetology (Kanebo- Sensai Sothys), medicinal spa-routines for hair (La Biosthetique), and an original massage routine – these are only a few of the services that we offer our clients. Happy hours means 20% off during weekdays from 11:00 to 13:00. Clients holding the Privilege Card Baltschug Kempin- ski card enjoy discounts on a continuous basis. Trafalgar Ball The 10th Trafalgar Ball will be held on Saturday October 24 in the ballroom of the Marriott Grand Hotel.
  • Film Criticism

    Film Criticism

    ALEXANDER FEDOROV FILM CRITICISM FEDOROV, A. FILM CRITICISM. МOSCOW: ICO “INFORMATION FOR ALL”. 2015. 382 P. COPYRIGHT © 2015 BY ALEXANDER FEDOROV [email protected] ALL RIGHT RESERVED. 10 9 8 7 6 5 4 2 1 FEDOROV, ALEXANDER. 1954-. FILM CRITICISM / ALEXANDER FEDOROV. P. CM. INCLUDES BIBLIOGRAPHICAL REFERENCES. 1. FILM CRITICISM. 2. FILM STUDIES. 3. MEDIA LITERACY. 4. MEDIA EDUCATION. 5. MEDIA STUDIES. 6. FILM EDUCATION. 7. STUDENTS. 8. CINEMA. 9. FILM. 10. MASS MEDIA. 11. STUDY AND TEACHING. 2 Contents The Mystery of Russian Cinema ………………………………..…... ..6 Phenomenon of Russian Film-Hits ………………………………….. 10 Russian Screen Distribution …………………………………..………..12 Video-pirates from Russia ……………………………………..…….. 15 Film Criticism and Press in Russia …………………………………… 17 Russian Cinematography and the Screen Violence ………………....….21 The Gloom of Russian Fantastic Movie-Land …………….………..….27 Sex-Cinema: Made in Russia …………………………………… ..….. 29 America, America… ……………………………………………….… .31 French Motives and Russian Melodies ………………………….…… .33 Fistful of Russian Movies ……………………………………….…… .41 Nikita Mikhalkov before XXI Century ………………………….…… 78 Karen Shakhnazarov: a Fortune's Favorite? ……………………….… 86 Pyotr Todorovsky: Dramatic Romance ……………………….……. 92 Oleg Kovalov, Former Film Critic .........................................................99 How to Shoot the “True” Film about Russia …………………………102 Locarno Film Fest: The View of a Film Educator ……………………103 The Analysis of Detective Genre at Film Education in Students’ Audience ……………………………………………… ……….…..106 Hermeneutical
  • Azerbaijan Film

    Azerbaijan Film

    CISCCONTENTONTENT:CONTENRTRREPORTEPORTEPORT CC ReviewОбзорОбзор of новостейaudiovisualновостей рынка content производства production and ии дистрибуциидистрибуции distribution аудиовизуальногоаудиовизуальногоin the CIS countries контента контента Media«»«MediaМ«»ÌЕДИÅÄÈ ResourcesА ResourcesÀРЕСУРСЫÐÅÑÓÐÑÛ МManagement ÌManagementЕНЕДЖМЕНТÅÍÅÄÆÌÅÍÒ » №№20, №121(9) №213 №2 October April января, 1 April, 30, 2014 201320122011 2012 тема FOCUSномераFOCUS DEARсловоDeAr COLLEAGUESColle редакциAguesи УжеWeWe areareв первые happyhappy to toдни presentpresent нового youyou года thethe AprilOctoberнам, issue редак issue of цthe иofи conferences,ПервыйLast autumn номер members international Content of Russian contentReport association выходитmarket and ofв televiкsevану- н- КИНОТЕАТРАЛЬНЫ Й ContentCIS:the CIS:Content Report, Content Report сразу Report whereстало where понятно,we triedwe tried toчто gather toв 2011gather theм eralСтарогоsion special and movie Нового events producers года,in order который chose to achieve Red (наконецто) Squaresynergy, Screen learn за - mostthe most interesting interesting up-to-date up-to-date information information about rapidlyabout aboutings as current the most trends important of the industry international event ofmedia the season. busi- РЫНTVО MARKETS:К В УКРАИН Е : все мы будем усердно и неустанно трудиться. За вершает череду праздников, поэтому еще раз KIEV MEDIA WEEK 2014: нимаясьdevelopingrapidly developing подготовкой content contentproduction первого production andвыпуска distribution and обзора distribu
  • Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions

    Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions

    Alexander Fedorov Soviet science fiction movies in the mirror of film criticism and viewers’ opinions Moscow, 2021 Fedorov A.V. Soviet science fiction movies in the mirror of film criticism and viewers’ opinions. Moscow: Information for all, 2021. 162 p. The monograph provides a wide panorama of the opinions of film critics and viewers about Soviet movies of the fantastic genre of different years. For university students, graduate students, teachers, teachers, a wide audience interested in science fiction. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 1 Table of Contents Introduction …………………………………………………………………………………………………………………………3 1. Soviet science fiction in the mirror of the opinions of film critics and viewers ………………………… 4 2. "The Mystery of Two Oceans": a novel and its adaptation ………………………………………………….. 117 3. "Amphibian Man": a novel and its adaptation ………………………………………………………………….. 122 3. "Hyperboloid of Engineer Garin": a novel and its adaptation …………………………………………….. 126 4. Soviet science fiction at the turn of the 1950s — 1960s and its American screen transformations……………………………………………………………………………………………………………… 130 Conclusion …………………………………………………………………………………………………………………….… 136 Filmography (Soviet fiction Sc-Fi films: 1919—1991) ……………………………………………………………. 138 About the author …………………………………………………………………………………………………………….. 150 References……………………………………………………………….……………………………………………………….. 155 2 Introduction This monograph attempts to provide a broad panorama of Soviet science fiction films (including television ones) in the mirror of
  • RUSSIAN WORLD VISION Russian Content Distributor Russian World Vision Signed an Inter- National Distribution Deal with Russian Film Company Enjoy Movies

    RUSSIAN WORLD VISION Russian Content Distributor Russian World Vision Signed an Inter- National Distribution Deal with Russian Film Company Enjoy Movies

    CISCONTENT:CONTENTRREPORTEPORT C ReviewОбзор of новостейaudiovisual рынка content производства production and и дистрибуции distribution аудиовизуальногоin the CIS countries контента Media«»«МЕДИ ResourcesА РЕСУРСЫ МManagementЕНЕДЖМЕНТ» №11№ 1(9) February №213 января, 1 April, 22, 20132011 2012 тема FOCUSномера DEARслово COLLEAGUES редакции WeУже are в happyпервые to presentдни нового you the года February нам, issue редак ofц theии greatПервый joy itномер appeared Content that stillReport there выходит are directors в кану whoн КИНОТЕАТРАЛЬНЫ Й CISContent Content Report, Report сразу where стало we triedпонятно, to gather что в the 2011 mostм treatСтарого film industryНового as года, an art который rather than (наконецто) a business за все мы будем усердно и неустанно трудиться. За вершает череду праздников, поэтому еще раз РЫНTVО КMARKETS В УКРАИН Е : interesting up-to-date information about rapidly de- velopingнимаясь contentподготовкой production первого and выпуска distribution обзора markets но хотим пожелать нашим подписчикам в 2011 ЦИФРОВИЗАЦИ Я КА К востей рынка производства и аудиовизуального годуAnd one найти more свой thing верный we’d likeпуть to и remindследовать you. емуPlan с- IN TAJIKISTAN, of the CIS region. As far as most of the locally pro- ning you business calendar for 2013 do not forget to ducedконтента series в этом and год TVу ,movies мы с радостью are further обнаружили distributed, упорством, трудясь не покладая рук. У каждого UZBEKISTAN,ОСНОВНОЙ ТРЕН ANDД что даже в новогодние праздники работа во мно свояbook timeдорога, to visit но theцель major у нас event одн forа – televisionразвивать and и and broadcast mainly inside the CIS territories, we media professionals in the CIS region - KIEV MEDIA РАЗВИТИ Я (25) pickedгих продакшнах up the most идет interesting полным хо andдом, original а дальше, projects как улучшать отечественный рынок.
  • A Cultural Analysis of the Russo-Soviet Anekdot

    A Cultural Analysis of the Russo-Soviet Anekdot

    A CULTURAL ANALYSIS OF THE RUSSO-SOVIET ANEKDOT by Seth Benedict Graham BA, University of Texas, 1990 MA, University of Texas, 1994 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2003 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Seth Benedict Graham It was defended on September 8, 2003 and approved by Helena Goscilo Mark Lipovetsky Colin MacCabe Vladimir Padunov Nancy Condee Dissertation Director ii Copyright by Seth Graham 2003 iii A CULTURAL ANALYSIS OF THE RUSSO-SOVIET ANEKDOT Seth Benedict Graham, PhD University of Pittsburgh, 2003 This is a study of the cultural significance and generic specificity of the Russo-Soviet joke (in Russian, anekdot [pl. anekdoty]). My work departs from previous analyses by locating the genre’s quintessence not in its formal properties, thematic taxonomy, or structural evolution, but in the essential links and productive contradictions between the anekdot and other texts and genres of Russo-Soviet culture. The anekdot’s defining intertextuality is prominent across a broad range of cycles, including those based on popular film and television narratives, political anekdoty, and other cycles that draw on more abstract discursive material. Central to my analysis is the genre’s capacity for reflexivity in various senses, including generic self-reference (anekdoty about anekdoty), ethnic self-reference (anekdoty about Russians and Russian-ness), and critical reference to the nature and practice of verbal signification in more or less implicit ways. The analytical and theoretical emphasis of the dissertation is on the years 1961—86, incorporating the Stagnation period plus additional years that are significant in the genre’s history.