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Uw Cinematheque Announces Fall 2012 Screening Calendar
CINEMATHEQUE PRESS RELEASE -- FOR IMMEDIATE RELEASE AUGUST 16, 2012 UW CINEMATHEQUE ANNOUNCES FALL 2012 SCREENING CALENDAR PACKED LINEUP INCLUDES ANTI-WESTERNS, ITALIAN CLASSICS, PRESTON STURGES SCREENPLAYS, FILMS DIRECTED BY ALEXSEI GUERMAN, KENJI MISUMI, & CHARLES CHAPLIN AND MORE Hot on the heels of our enormously popular summer offerings, the UW Cinematheque is back with the most jam-packed season of screenings ever offered for the fall. Director and cinephile Peter Bogdanovich (who almost made an early version of Lonesome Dove during the era of the revisionist Western) writes that “There are no ‘old’ movies—only movies you have already seen and ones you haven't.” With all that in mind, our Fall 2012 selections presented at 4070 Vilas Hall, the Chazen Museum of Art, and the Marquee Theater at Union South offer a moveable feast of outstanding international movies from the silent era to the present, some you may have seen and some you probably haven’t. Retrospective series include five classic “Anti-Westerns” from the late 1960s and early 70s; the complete features of Russian master Aleksei Guerman; action epics and contemplative dramas from Japanese filmmaker Kenji Misumi; a breathtaking survey of Italian Masterworks from the neorealist era to the early 1970s; Depression Era comedies and dramas with scripts by the renowned Preston Sturges; and three silent comedy classics directed by and starring Charles Chaplin. Other Special Presentations include a screening of Yasujiro Ozu’s Dragnet Girl with live piano accompaniment and an in-person visit from veteran film and television director Tim Hunter, who will present one of his favorite films, Tsui Hark’s Shanghai Blues and a screening of his own acclaimed youth film, River’s Edge. -
Hard to Be a God / Arkady and Boris Strugatsky ; Translated by Olena Bormashenko
Copyright © 1964 by Arkady and Boris Strugatsky Foreword copyright © 2014 by Hari Kunzru Aerword copyright © 2014 by Boris Strugatsky English language translation copyright © 2014 by Chicago Review Press Incorporated All rights reserved Published by Chicago Review Press Incorporated 814 North Franklin Street Chicago, IL 60610 ISBN 978-1-61374-828-2 e publication was effected under the auspices of the Mikhail Prokhorov Foundation TRANSCRIPT Programme to Support Translations of Russian Literature. Published with the support of the Institute for Literary Translation (Russia). Library of Congress Cataloging-in-Publication Data Strugatskii, Arkadii, 1925–1991, author. [Trudno byt’ bogom. English. 2014] Hard to be a god / Arkady and Boris Strugatsky ; translated by Olena Bormashenko. pages ; cm ISBN 978-1-61374-828-2 I. Strugatskii, Boris, 1933–2012, author. II. Bormashenko, Olena, translator. III. Title. PG3476.S78835T7813 2014 891.73’44—dc23 2014007355 Interior design: PerfecType, Nashville, TN Printed in the United States of America 5 4 3 2 1 Foreword by Hari Kunzru here are always schisms, even in medieval fantasy. Weird tales are Tweird in more than one way. One the one hand we have a rural tradition, sentimental, conservative, and wedded to absolute notions of good and evil. is is the English school of Tolkien and Lewis, in which Christ-lions and schoolchildren ght cosmopolitan witches and wizards with suspiciously foreign names. e nasty working classes of industrial Mordor threaten the exurban tranquility of the Shire, a place full of morally centered artisans and small tradesmen, destined, once the dwarves build the railway and the elves nally get out of their hot tubs and invent the Internet, to end up as commuters. -
Programme Notes
Red Front May 9 - May 30 2020 Trial on the Road (1971) by Aleksei German World War 2, or as it is known to Russians, The Great Patriotic proved too challenging for the authorities. The film was War is one of the few conflicts where we can attribute clear shelved for 15 years. moral judgement. Most international conflict carries ambivalence, it is hard to unpick which side, or indeed sides, The ambiguity that starts with Lazarev certainly does not end are ‘right’ or ‘wrong’. The general consensus on WWII has led to with him. When imprisoned by the partisans, his cellmate is an a conception of heroes and villains, which has penetrated 18 year old boy and a fellow defector. Lazarev’s commanding national and historical consciousness across Europe for the and stoic screen presence is the perfect counterbalance to the better part of a century. The Soviet death toll stands, according boy’s desperation. As the young man cries of his desolation to a 1993 study by the Russian Academy of the Sciences, at and regret, Lazarev says nothing, although he definitely 26.6million. The intense strength of pride and remembrance understands. It is a heartbreaking scene, one which shows the that still resonates through the region today is equivocal to way trauma envelopes individuals, and leaves them unable to the magnitude of the tragedy. However, whilst most of us can extend comfort to themselves, let alone to others. There are confidently say that Nazism and fascism were terrible forces, many scenes of this nature in German’s film, characters and that the war was largely just, this says nothing of the breakdown and their sorrow is met with silence. -
Time Unfrozen
Change of Focus—1 tony wood TIME UNFROZEN The Films of Aleksei German his is my declaration of love for the people I grew up ‘ with as a child’, says a voice at the beginning of Aleksei TGerman’s Moi drug Ivan Lapshin (My Friend Ivan Lapshin). There is a pause as the narrator struggles for the right words to express his feelings for the Soviet Union of the thirties; when they come—ob”iasnenie v liubvi—it is with a strained emphasis on ‘love’. The fi lm, released in 1984, is set in 1935 in the fi ctional provincial town of Unchansk, where a young boy and his father share a communal fl at with criminal police investigator Ivan Lapshin and half a dozen others. It weaves together elements from the director’s father Iurii German’s detective stories and novellas of the same period: a troupe of actors arrive to play at the town’s theatre; Lapshin tracks down a gang of crimi- nals trading in human meat; a friend of Lapshin’s, Khanin, becomes unhinged after his wife dies of typhus; the spirited actress Adashova falls in love with Khanin, and Lapshin with Adashova. The authorities are largely absent: it is a fi lm about people ‘building socialism’ on a bleak frozen plain, their town’s one street a long straggle of low wooden build- ings beneath a huge white sky, leading from the elegant stucco square by the river’s quayside out into wilderness. There is a single tram, a military band, a plywood ‘victory arch’ of which they are all proud—‘My father’, the narrator recounts, ‘would never take a short cut across the town’: he always went the long way round, under the victory arch. -
Arrow Academy Arrow Academy Arrow Academy Arrow Academy
ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY 1 CONTENTS 4 Film Credits 7 Khrustalyov, My Car! Admission to the Circus (2019) By Gianna D’Emilio 37 Khrustalyov, the Keys to My Car! (2003) by Joël Chapron ARROW ACADEMY ARROW ACADEMY 50 Contemporary Reviews 54 About the Restoration ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY2 ARROW ACADEMY 3 ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY CAST Yuri Tsurilo General Klensky (as Y. Tsurilo) Nina Ruslanova The General’s Wife (as N. Ruslanova) Mikhail Dementyev The General’s Son (as M. Dementiev) Jüri Järvet Jr. The Swedish Journalist (as Y. Yarvet) Aleksandr Bashirov Fedia Aramyshev AKA Condom (as A. Bachirov) Mulid Makoev Lavrentiy Beria (as M. Makoïev) Ali Misirov Joseph Stalin (uncredited) CREW ARROW ACADEMY ARROWDirected by Aleksei GermanACADEMY (as A. Guerman) Written by Aleksei German (as A. Guerman) and Svetlana Karmalita (as S. Karmalita) Produced by Guy Séligmann, Aleksandr Golutva (as Alexandre Golutva) and Armen Medvedev Cinematography by Vladimir Ilin (as V. Ilyne) Film Editor Irina Gorokhovskaya (as I. Gorokhovskaïa) Sound Nikolay Astakhov (as N. Astakhov) ARROW ACADEMYMusic by Andrei ARROW Petrov (as A. Petrov )ACADEMY Production Design by Vladimir Svetozarov (as V. Svetozarov), Georgiy Kropachyov (as G. Kropatchiov) and Mikhail Gerasimov (as M. Geurassimov) ARROW ACADEMY4 ARROW ACADEMY 5 ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY Khrustalyov, My Car! Admission to the Circus by Gianna D’Emilio When the films of Aleksei Yuryevich German (1938–2013) have screened in the west, reviews have fallen into two camps. -
Read Ebook {PDF EPUB} the Time Wanderers by Arkady Strugatsky Prominent Russians: Arkady and Boris Strugatsky
Read Ebook {PDF EPUB} The Time Wanderers by Arkady Strugatsky Prominent Russians: Arkady and Boris Strugatsky. Arkady and Boris Strugatsky are well-known Soviet-Russian science fiction writers with a highly developed fan base. They became the spiritual leaders of Russian sci-fi literature in the 1960s, and to this day, their influence remains immense - entire generations were brought up on their books and loved them for their unique style. Though the early works of the Strugatsky bothers lacked individuality – at the beginning of their writing career their novels and short stories resembled those of Ivan Yefremov, a Soviet paleontologist and science fiction author who was the brothers’ lifetime icon and role model. Strugatsky novels were very different from ordinary sci-fi novels: strictly speaking they didn’t write showpiece science fiction. The brothers have always tried to write not just about spaceships, technology or other fantastic stuff, but also about people and their problems. At the beginning of the 1990s the brothers became the best-known and loved Soviet science-fiction writers abroad – their works were translated into multiple languages and published in 27 countries; a success Russian writers rarely experienced in the West. Arkady Strugatsky. Childhood. Arkady Strugatsky was born on 28 August 1925 in Batumi, Georgia; his mother was a teacher and his father – a fine arts expert, who at the same time earned a bit on the side as a newspaper editor. Two months after the elder son was born, in autumn 1925, the family moved to Leningrad (now Saint Petersburg). When WWII broke out, Arkady first helped constructing defenses and then assisted at the grenade manufactory. -
The Russian Idea in the Soviet and Post-Soviet Fantastika Film Adaptation
UNIVERSITY OF CALIFORNIA Los Angeles Searching for Identity: The Russian Idea in the Soviet and Post-Soviet Fantastika Film Adaptation A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Slavic, East European and Eurasian Languages and Cultures by Jesse Brown O’Dell 2019 © Copyright by Jesse Brown O’Dell 2019 ABSTRACT OF THE DISSERTATION Searching for Identity: The Russian Idea in the Soviet and Post-Soviet Fantastika Film Adaptation by Jesse Brown O’Dell Doctor of Philosophy in Slavic, East European and Eurasian Languages and Cultures University of California, Los Angeles, 2019 Professor Ronald W. Vroon, Chair What is the role of sociocultural history in the evolution of national identity? How is the worldview of Russian citizens reflected in contemporary art and popular culture? My dissertation, which examines narratives of national identity in the twentieth and twenty-first centuries, approaches these questions and others through an historical analysis of Russian fantastika film adaptations and the literary works upon which they are based. Illustrating transitions in perceptions of Russian identity as they are reflected in over thirty examples of Soviet and post-Soviet fantastika, this project provides a critical reconsideration of historical theories on the “Russian idea” and offers new perspectives on what it means to be Russian in the twenty-first century. My study employs a synthesis of approaches from the fields of cultural history, literature, film, and gender studies. The primary hypothesis is that it is possible, through an historical ii analysis of fantastika film adaptations (and their corresponding literary sources), to obtain a fundamental understanding of post-Soviet culture by examining crucial transformations in the Russian worldview over the course of a century; namely, from 1917 to 2017. -
The Strugatskys in Political Context Author(S): Erik Simon Source: Science Fiction Studies, Vol
SF-TH Inc The Strugatskys in Political Context Author(s): Erik Simon Source: Science Fiction Studies, Vol. 31, No. 3, Soviet Science Fiction: The Thaw and After (Nov., 2004), pp. 378-406 Published by: SF-TH Inc Stable URL: http://www.jstor.org/stable/4241284 . Accessed: 22/10/2014 05:25 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. SF-TH Inc is collaborating with JSTOR to digitize, preserve and extend access to Science Fiction Studies. http://www.jstor.org This content downloaded from 131.111.184.22 on Wed, 22 Oct 2014 05:25:57 AM All use subject to JSTOR Terms and Conditions 378 SCIENCE FICTION STUDIES, VOLUME 31 (2004) Erik Simon The Strugatskys in Political Context (This essay, first published in German in QuarberMerkur, #93-94 [2001], is a much enlarged version of my 1992 article of the same title. Although I have something to say about nearly all of the Strugatskys' works, this is not a review of their oeuvre; rather, I will comment on political aspects and contexts, especially regardingthe politics of publishing, that are little known outside Russia. I base my remarksin parton informationthat I have received from Soviet authors,editors, and sf fans from the mid-1970s to the end of 1991. -
Trudno Byt Bogom /'Hard to Be a God' (2013) Drama/Science Fiction Film
SLOVO, VOL. 26, NO. 2 (AUTUMN 2014), 30-31. Trudno byt Bogom /’Hard to be a God’ (2013) Drama/Science Fiction film, black and white, 177 min. Directed by ALEKSEI GERMAN. Written by ALEKSEI GERMAN, SVETLANA KARMALITA. Cast: Leonid Yarmol’nik, Evgenii Gerchakov, Aleksandr Chutko. Russia and Czech Republic: Sever Studio/Lenfilm. Language: Russian. In the closing moments of Hard to be a God (2013), in the aftermath of a brutal massacre, Don Rumata mournfully plays his clarinet. A passing man and a young child trudge down a snow-covered path. ’Do you like this music?’ the girl asks, ’It hurts my stomach.’ The girl’s response to the music could well serve as an initial reaction to this film, as it is a deeply beautiful work about the ugliest atrocities mankind is capable of. Initial reactions of confusion, queasiness of the stomach, and mutterings that the film is “impenetrable” merely demonstrate the public reluctance to deal with such an uncompromising work of art. The film depicts a planet that is still languishing in a medieval phase of development, unlike Earth where space travel and futuristic technologies fully flourish. Disorder reigns as local warlords vie for power. Intellectuals and artists are rounded up and brutalised, beaten and dunked head-first into latrines. A scientist from Earth, disguised as local nobleman Don Rumata, observes all this, reporting to his superiors on the events and protecting the hounded wise men with a view to secure a future renaissance. Rumata is searching for one such key thinker, a doctor called Budakh. However his attempts to locate the man and to intervene in local politics result in a backlash from a local warlord, who instigates an eruption of pillage and mass murder (the original title of the film, ‘The Chronicle of the Arkanar Massacre’, unambiguously established this potential spoiler as a theme).The core dilemma this film grapples with is God’s possible intervention in human affairs. -
Intelligentsia Imaginations in the Writings of the Strugatsky Brothers
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Communism's Futures: Intelligentsia Imaginations in the Writings of the Strugatsky Brothers Elizabeth Tammaro University of Central Florida Part of the Cultural History Commons, Social History Commons, and the Soviet and Post-Soviet Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Tammaro, Elizabeth, "Communism's Futures: Intelligentsia Imaginations in the Writings of the Strugatsky Brothers" (2017). Electronic Theses and Dissertations, 2004-2019. 5651. https://stars.library.ucf.edu/etd/5651 COMMUNISM’S FUTURES: INTELLIGENTSIA IMAGINATIONS IN THE WRITINGS OF THE STRUGATSKY BROTHERS by ELIZABETH TAMMARO B.A. University of Central Florida, 2014 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2017 Major Professor: Vladimir Solonari © 2017 Elizabeth Tammaro ii ABSTRACT Arkady and Boris Strugatsky were the most popular science fiction writing duo in Soviet Russia from the 1960s through the 1980s. Examining their imaginative fictional worlds against the background of wider changes in the Soviet Union allows scholars to gain insights in the world of the Soviet intelligentsia, the educated bearers of culture. -
PDF Download Hard to Be a God Ebook Free Download
HARD TO BE A GOD PDF, EPUB, EBOOK Arkady Strugatsky,Boris Strugatsky | 256 pages | 09 Apr 2015 | Orion Publishing Co | 9781473208292 | English | London, United Kingdom Hard to be a God PDF Book The first is that Hard to be a God is essentially plotless, and pretty repetitive. In the same time, the organized-crime groups of Vaga the Wheel, secretly encouraged by Don Reba, begin to pillage the city. Feeling confident in his superior abilities and contacts in the military and the criminal world alike, Rumata plans to escape with Kira to Earth. Anton is torn between pity for the people and his hate towards the more brute examples of this medieval society Filter reviews by the user's playtime when the review was written:. The two worlds idea is deeply familiar, of course. Perhaps because of this, Rumata has assimilated himself as a noble with God-like powers and thus is feared by all. The site's consensus reads: "A sci-fi epic with palpable connections to the present, Hard to Be a God caps director Aleksei German's brilliant filmography with a final masterpiece". Cod medieval fantasy served up in heavy-handed political satire. Yet while this is a criticism it is, in a way, also a kind of compliment too, because I wanted the book to be longer, I wanted another couple of hundred pages so that we [the reader and the authors] could really, fully ride this engrossing and challenging story out and so achieve a more natural and rewarding conclusion. Orphan Black: Season 5. At least the rating is still the same: 5 stars. -
Hard to Be a God
HARD TO BE A GOD A film by Aleksei German 2013 / Russia / 170 minutes / 35mm / DCP, B&W A Kino Lorber Release Kino Lorber, Inc. 333 West 39th St., Suite 503 New York, NY 10018 (212) 629-6880 Publicity Contact: Rodrigo Brandão – [email protected] Matt Barry – [email protected] CAST Leonid Yarmolnik – Don Rumata Aleksandr Chutko – Don Reba Yuriy Tsurilo – Don Pampa Evgeniy Gerchakov – Budakh Natalya Moteva – Ari CREW Director: Aleksei German Screenwriters: Svetlana Karmalita, Aleksei German, Based on the novel by Boris and Arkady Strugatsky Cinematography: Vladimir Ilyin, Yuri Klimenko Production Design: Sergei Kokovkin, Georgi Kropachev, E. Zhukova Costumes: Yekaterina Shapkaitz Makeup: Olga Izvekova, N. Ratkevich Music: V. Lebedev Sound: N. Astakhov Editors: Irina Gorokhovskaya, Maria Amosova Story Editor: Yevgeny Prtizker Production Manager: Marina Dovladbegyan Produced by: Viktor Izvekov, Rushan Nasibulin Production Companies: Studio Server (Russia), Russia 1 TV Channel (Russia) SYNOPSIS A group of research scientists has been sent to the planet Arkanar, living under an oppressed regime in a period equivalent to earth’s Middle Ages. The local population is suffering a ban issued on anyone who knows how to read and write. The scientists must refrain from influencing political and historical events on Arkanar. They must work incognito, and they must remain neutral. Don Rumata, recognized by the locals as a sort of futuristic god, tries to save the local intelligentsia from their punishment. He cannot avoid taking the stance: “What would you do in God’s place?” Adapted from the 1960s cult sci-fi novel “Hard to Be a God” by Arkady and Boris Strugatsky.