DOCSLIB.ORG

Content Report Content Report Ccontent Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Content Report Content Report Ccontent Report CISCONTENT::CONTENTRREPORTEPORT C ReviewCISОбзорC of новостейaudiovisualONTENTC рынкаONTEN content производства production and и дистрибуции distributionTRREPORTEPOR аудиовизуальногоin the CIS countriesT контента C ReviewОбзор of новостей audiovisual рынка content производства production и дистрибуции and distribution аудиовизуального in the CIS countries контента Media«»«МЕДИ ResourcesА РЕСУРСЫ МManagementЕНЕДЖМЕНТ» № №81(9)№2 1331 января,1August, April, 20122011 Media«»«МЕДИ ResourcesА РЕСУРСЫ МManagementЕНЕДЖМЕНТ» №8№ 1(9) 03№2 September,13 января,1 April, 20122011 тема номераFOCUS DEARслово COLLEAGUESредакции тема номераFOCUS DEARслово COLLEAGUESредакции WeУже are в happyпервые to presentдни нового you theгода August нам, issue редак of цtheии distributorsПервый номер and rightContent holders Report and theatricalвыходит distribuв канун- КИНОТЕАТРАЛЬНЫ Й CISContentWeУже Content are в Report, happyпервые Report toсразу presentдни where сталонового we you triedпонятно, theгода toAugust gatherнам, что issue в theредак 2011 mostof цtheмии tionСтарогоdistributorsПервый of Belarusian Новогономер and right Contentfilms.года, holders который Report and theatricalвыходит(наконецто) distribuв кану зан- КИНОТЕАТРАЛЬНЫ Й Content Report, сразу стало понятно, что в 2011м Старого Нового года, который (наконецто) за РЫН О К В КРАИН Е interestingвсеCIS мы Content будем up-to-date Reportусердно where information и неустанно we tried about to трудиться. gather rapidly the mostdeЗа- вершаетtion of Belarusian череду films.праздников, поэтому еще раз У : все мы будем усердно и неустанно трудиться. За вершает череду праздников, поэтому еще раз РЫН О К В УКРАИН Е : velopingнимаясьinteresting contentподготовкой up-to-date production первого information and выпуска distribution about обзора rapidly markets н deо - хотим пожелать нашим подписчикам в 2011 ЦИФРОВИЗАЦИ Я КА К востейнимаясь рынка подготовкой производства первого и аудиовизуальногвыпуска обзора но годуAndхотим one найти пожелатьmore свой thing верный we’dнаши likeм путь подписчикto remind и след you.оаватьм Planningв ему201 1с MARKE T of velopingthe CIS region.content Asproduction far as most and distributionof the locally markets pro- And one more thing we’d like to remind you. Planning CISЦИФРОВИЗАЦИ TV Я КА К контентаofвостей the CIS врынка этом region. годпроизводства Asу, мы far сas радостью most и аудиовизуальног of the обнаружили locally pro,о - упорством,youгоду business найти трудясьсвойcalendar верный неfor покладая2012 путь do и следnot ру forgetко. ватьУ каждог to ему book со ОСНОВНОЙ ТРЕН Д duced series and TV movies are further distributed you business calendar for the autumn 2012 do not CIS TV marke T чтоducedконтента даже seriesв новогодниев этом and год TVу ,movies праздникимы с радостью are further работа обнаружили distributed во мно , свояtimeупорством, to дорога, visit the трудясь но major цель eventне у покладаянас for одн televisionа ру– кразвивать. Уand каждог media ои OVОСНОВНОERVIEWЙ (23) ТРЕН Д and broadcast mainly inside the CIS territories, we professionalsforget to book in time the toCIS visit region the major - KIEV event MEDIA for televiWEEK- РАЗВИТИ Я (25) гихandчто продакшнах дажеbroadcast в новогодние идетmainly полным inside праздники хоtheдом, CIS р а а territories,дальше,бота во мн ка weок улучшатьсвоя дорога, отечественный но цель у нас рынок. одна П– оразвивать коням, г ои oVervi ew (23) picked up the most interesting and original projects 2012sion ,and September media professionals 11-14, 2012. in theOrganized CIS region by -Media KIEV РАЗВИТИ Я (25) withговорится,pickedгих those продакшнах up script-ideas станет the most идетеще interesting that полнымбольше. have хо international andКакдом, originalнеоднократн а дальше, projectsappeal као к сподаулучшать! отечественный рынок. По коням, го говорится, станет еще больше. Как неоднократно ResourcesсподаMEDIA! WEEK Management 2012, September company, 11-14, this 2012. unique Orga me-- andбылоwith may отмечено, those further script-ideas travelвследствие abroad that haveкризиса to Europe, international основательн Asia orappeal theо было отмечено, вследствие кризиса основательно dianized industry by Media project, Resources one and Management only of a kind company,in the CIS Northизмениласьand Americamay further конъюнктура both travel as abroadreadymade рынка, to Europe,поменялась product Asia or or раfor theс- this unique media industry project, one and only of a становкаNorthизменилась America сил иконъюнктура возможностей,both as readymade рынка, поэтому поменялась product работат or раforьс - and Central and Eastern Europe is a Артемone stop Вакалю destiк- mats. Besides there are a lot of full-length features kind in the CIS and Central and EasternАртем Europe Вакалю is aк действительноmats.становка Besides сил есть иthere возможностей, и будетare a lotнад of чем. full-lengthпоэтому Подтвержд р featuresаботатеь nation for five international media tradeГлавный events. редакто р recently launched into production in Russia, Ukraine, one stop destination for five internationalГлавный media редакто tradeр интервью номера ниемrecentlyдействительно тому launched является есть into количество и productionбудет над собранного чем.in Russia, Подтвержд Ukraine,в этоме Content Report интервью номера Kazakhstan and other CIS states that for sure may events. Content Report (полупраздничном)Kazakhstanнием тому является and other номере количество CIS материалаstates собранного that .for sure в этоmayм Please do not forget that we are here to be your local INTERVIEW have(полупраздничном) not only successful номере international материала distribution. but сергеINTERVIEWй каратаев : alsohave be notthe only award successful winners internationaland nominees distribution of different but source of information and analytics. сергей каратаев : also be the award winners and nominees of different Please do not forget that we are here to be your local «на данный момент Вinternational сегодняшней film festivals. теме Despite large portion of in- «на данный момент Вinternational сегодняшней film festivals. теме Despite large portion of in- source of information and analytics. еще остаются номераformation мы on theостанови new movies, shows and series you’ll еще остаются номераformation мы on theостанови new movies, shows and series you’ll We wish a pleasant reading! лисьalso find на theодной detailed из reportса on the recent distribution нераVASILYспроданны COCTYSH:е филь мы, лисьalso find на theодной detailed из reportса on the recent distribution нераVASILYспроданны COCTYSH:е филь мы, мыхdeals болезненныхwith the CIS-partners. тем ко«Belarusianткоортыореы беыли были marketсоз сдозаныданы is д о д о мыхdeals болезненныхwith the CIS-partners. тем «Belarusian market is отечественнойотечественной киноин киноин кризиса» (31(31) ) дустрии – рынке кино Russian-language,Russian-language,кризиса» In ourInдустрии our analytical analytical – рынке article article кино we we would would like like toтеатров. театров.pay attention На На страницах страницах to the TV market of so soit is it convenientis convenient Contentto pay Reportattention мы to неthe TV market of thetheContent whole whole CIS Report CIS region region мы that неthat is isa arapidly rapidly однократно публико to cooperateto cooperate with with Moscow Moscow developingdevelopingоднократно industry industry публико both both in in terms terms of of вали мнения о том, что distributors without thetheвали quantity quantity мнения of of TVо TVтом, channels channels что and and lo lo- - distributors without едва ли не основной callycallyедва produced producedли не основнойtelevision television content. content. intermediaries»СОДЕРЖАНИЕintermediaries»СОДЕРЖАНИЕ (25) (25) ForпроблемойForпроблемой the the past past ten(хотя ten(хотя years years эту этуCIS CIS TV TV mar mar- - ketтемуketтему drew активноdrew активно dramatically, dramatically, поднима поднима especially especially in in suchютют все, все,countries кому кому не не безразas безраз Russia, Ukraine ПРОИЗВОДСТВОПРОИЗВОДСТВО: (2): (2) such countries as Russia, Ukraine andличнаandлична Kazakhstan Kazakhstanсудьба судьба whichнацио whichнацио are are the the big big- - СЕРИАЛСЕРИАЛ (2) (2) gestнальногоgestнального regional regional кинематогра кинематогра TV TV markets. markets. Neverthe Neverthe- - фа),фа), сдерживающейсдерживающей ТЕЛЕФИЛЬМТЕЛЕФИЛЬМ (7) (7) lessless television television industry industry evolve evolve rapidly rapidly alsoразвитиеalsoразвитие in inother other CISиндустрии CISиндустрии countries, countries, such such as as ТЕЛЕШОУТЕЛЕШОУ (10) (10) Uzbekistan,«полногоUzbekistan,«полного метра»Kyrgyzstan, метра»Kyrgyzstan, нана Azerbaijan, Azerbaijan, постсоветскомпостсоветском пропро АНИМААНЦИИМАЯ ЦИ(12Я )(12) Tajikistan,Tajikistan, Armenia, Armenia, Moldova Moldova andand ContentsContents Belorussia.странстве,Belorussia.странстве, The Theявляется являетсяonly only one one “closed “closed ДОКУДМЕОКУНТМЕАЛЬНТНЫАЛЬЙНЫ ПРЙО ПРЕ КТО (Е13КТ ()13) forкатастрофическаяforкатастрофическая the the others’ others’ eyes” eyes” не marketне market of of the the хваткахватка кинозалов. кинозалов. Од Од PRODUPКroduИНОФИЛЬМCTIК ИНОФИЛЬМONCTI:on (14)2): (14)2) regionregion is isTurkmenistan, Turkmenistan, where where there there areнакоareнако only рынокonly рынок 5 TV5 TVпродолжа channels, продолжа channels, all all of of which which SERIESSerie (2)S (2) ет стремительно раз Д И СТРД И СТРИ Б ИУ БЦИЯУЦИЯ (15) (15) areет are стремительноstate-owned. state-owned. раз виваться. И если по TV MOTVV IEmoS
Load more

Recommended publications
  • Organisational Structure, Programme Production and Audience
    OBSERVATOIRE EUROPÉEN DE L'AUDIOVISUEL EUROPEAN AUDIOVISUAL OBSERVATORY EUROPÄISCHE AUDIOVISUELLE INFORMATIONSSTELLE http://www.obs.coe.int TELEVISION IN THE RUSSIAN FEDERATION: ORGANISATIONAL STRUCTURE, PROGRAMME PRODUCTION AND AUDIENCE March 2006 This report was prepared by Internews Russia for the European Audiovisual Observatory based on sources current as of December 2005. Authors: Anna Kachkaeva Ilya Kiriya Grigory Libergal Edited by Manana Aslamazyan and Gillian McCormack Media Law Consultant: Andrei Richter The analyses expressed in this report are the authors’ own opinions and cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members and the Council of Europe. CONTENT INTRODUCTION ...........................................................................................................................................6 1. INSTITUTIONAL FRAMEWORK........................................................................................................13 1.1. LEGISLATION ....................................................................................................................................13 1.1.1. Key Media Legislation and Its Problems .......................................................................... 13 1.1.2. Advertising ....................................................................................................................... 22 1.1.3. Copyright and Related Rights .........................................................................................
    [Show full text]
  • Live News: a Survival Guide for Journalists
    AA SURVIVALSURVIVAL GUIDEGUIDE FORFOR JOURNALISTSJOURNALISTS LIVELIVE NEWSNEWS Front cover picture: A press photographer in a cloud of teargas during a riot in Lima, Peru, in May 2000. Photo: AP / Martin Mejia Title page picture (right) A newspaper vendor waits for customers in Abidjan, Ivory Coast, one of many countries where media have been put under threat. In November 2002, an emergency aid programme was launched by the IFJ, the Communication Assistance Foundation, International Media Support and Media Assistance International, working with the Union Nationale des Journalistes de Côte d'Ivoire (UNJCI) and the West Africa Journalists Association. The programme included training on safety and conflict reporting. Photo: AP / Clement Ntaye. LIVE NEWS A SURVIVAL GUIDE FOR JOURNALISTS Written and produced for the IFJ by Peter McIntyre Published by the International Federation of Journalists, Brussels March 2003 With the support of the European Initiative for Democracy and Human Rights. (i) Live News — A survival guide for journalists Published by the International Federation of Journalists March 2003. © International Federation of Journalists International Press Centre Residence Palace Rue de la Loi 155 B-1040 Brussels, Belgium ✆ +32 2 235 2200 http://www.ifj.org Editor in Chief Aidan White, General Secretary, IFJ Managing Editor Sarah de Jong, Human Rights Officer, IFJ [email protected] Projects Director Oliver Money-Kyrle Written and designed by Peter McIntyre, Oxford, UK [email protected] Acknowledgments The IFJ would like to thank: Associated Press Photos and Reuters, who donated the use of photos; AKE Ltd, Hereford, UK, for advice, information, facilities, and support; Mark Brayne (Dart Centre Europe) for advice on post trauma stress; Rodney Pinder, for comments on the drafts; All the journalists who contributed to, or were interviewed for, this book.
    [Show full text]
  • Television in Russia Is the Concept of PSB Relevant?
    Television in Russia Is the Concept of PSB Relevant? Elena Vartanova & Yassen N. Zassoursky In the traditional Western discourse on commercial and public service broad- casting, little attention was given to the state TV model which was present in many countries of the ‘Socialist’ block, and in many Asian states as well. Strictly speaking, public service broadcasting [PSB] is not a common con- cept shared and implemented by different countries in a similar way, but rather a continuum that implies different modes of interaction between the society, audience, state, and social institutions. In many European countries – France, Germany, Netherlands, Finland, Spain, – PSB practices indicate varying degrees of control and interference from political forces, governments and state agencies (Weymouth and Lamizet, 1996, Euromedia Research Group, 1997). The model of Western European PSB provides clear evidence that the state as a social agent is not an entirely antagonistic force to public service. On the contrary, “some forms of accountability to (political representatives of) the public, other than through market forces”, was traditionally considered a key public service element (McQuail & Siune, 1998: 24). This has led to the acceptance of some forms of content regulation embodying positive and negative criteria which, in turn, were shaped by the need to serve the pub- lic interest more than commercial, political or consumerist interests of soci- ety and audience. In Western Europe, there were fierce tensions between the goals set by ‘society’ in relation to the public interest and demands of the audience as consumers (McQuail, 2000:157). Dissimilar to this, post-Socialist societies experienced another tension paradigm.
    [Show full text]
  • Russian Media Policy in the First and Second Checen Campaigns
    Laura Belin (doctoral candidate, University of Oxford) e-mail: [email protected] Paper given at the 52nd conference of the Political Studies Association Aberdeen, Scotland, 5-8 April 2002 RUSSIAN MEDIA POLICY IN THE FIRST AND SECOND CHECHEN CAMPAIGNS The military campaign in Chechnya from December 1994 to August 1996 became the "first real test of journalists' freedoms" since the end of the Soviet Union1 and loomed large in perceptions about the Russian media for the rest of the 1990s. Though some journalists had condemned "shock therapy" in 1992 and the shelling of the parliament in 1993, the Chechen war prompted the journalistic community to desert Boris Yel'tsin en masse for the first time. Moscow-based television networks were the public's main source of information on the fighting.2 The private network NTV exposed official lies about how the war was waged. Newscasts on state-owned Russian Television (RTR), which reached a nationwide audience on Channel 2, soon followed NTV's lead. Virtually all privately owned newspapers also raised their voices against the military campaign. The predominant slant of war coverage became a source of pride for many journalists. Though damning news reports did not end the bloodshed, steadfast public opposition to the war impelled Yel'tsin to pursue a ceasefire agreement while running for reelection in 1996.3 Both supporters and opponents of the military campaign believed that media coverage fostered and sustained the majority view. Yel'tsin rarely retreated from unpopular policies, but his turnaround on Chechnya arguably demonstrated that journalists had helped bring some degree of transparency and therefore accountability to 1 Frank Ellis, From Glasnost to the Internet: Russia's New Infosphere, London: Macmillan Press Ltd, 1999, p.
    [Show full text]
  • Reform of the Latvian Public Media in the Perspective of Developing
    Tomasz Fraszczyk Reform of the Latvian public media in the perspective of developing modern content distribution technologies, evolution of user needs and complicated Latvia–Russia relations KEY WORDS Latvia, public media, media policy, new media, Russia ABSTRACT The article presents an outline of the evolution of the Latvian audiovisual media market (after 1988), the influence of the 2009 market crash on media entities (including those public) and key discussion topics and decisions made as a result of the crisis by Latvian institutions responsible for the media landscape. Detailed attention will be given to the new law on electronic mass media (in force from 2011) and those elements of the public media system reform project (announced in 2013), that are an outcome of the dynamic development of new content distribution technologies and changing user needs and habits, especially in younger age groups. The final part of the work will concern the complicated Latvia–Russia relations and the multi-aspect contribution of mass media in their shaping. The conclusion indicates a broad scope of discussion and analytical works in Latvia concerning the reform of public media, which suggests it will not be abandoned in the following years. In the beginning of January 2013, the Latvian National Electronic Mass Media Council (NEPL Padome) published a new strategy for the public radio (LR) and television (LTV). It aims to rebuild the position of the public service broadcasters (LSM) after the severe crisis of 2009–2010, which had seriously damaged not only the finances but also the market position of these institutions. In the youngest age groups, these shares are the smallest by far and do not exceed 20 % for the television and 8 % for the radio1.
    [Show full text]
  • Blingski Korsakov
    DANNY WALLACE ‘The mission is to send Lady Gaga into early retirement. I call it Project Kamaliya’ Mohammad Zahoor B L I N G S K I KORSAKOV Meet the Zahoors. Mohammad: super-rich husband and patron. Kamaliya: Ukraine’s Lady Gaga-in-the-making. His billions can buy champagne baths and his-and-her jets, but can cold cash really pay for pop superstardom? GQ hangs with the big personalities behind TV’s Meet The Russians for whom patience is not just a virtue, but a necessity STORY BY DANNY WALLACE PHOTOGRAPHS BY BRAN SYMONDSON Rich pickings: Mohammad Zahoor shares his home with his pop-star wife, Kamaliya, and their twin daughters, a litter of designer dogs and one well-behaved hawk MARCH 2014 G XX DANNY WALLACE “Well,” I say, pointing at a small plate in front of me. “This is nice cheese.” The man I’m with – Mohammad Zahoor – folds his arms and nods. There is a moment of silence. “In fact, it’s all nice cheese, isn’t it?” I say. Pet set (clockwise from top Zahoor doesn’t say anything this time, just left): En route to Odessa – stretches back in his chair and casts a glance to with menagerie – aboard one a grand staircase, in case his wife, the Ukrainian of the couple’s private jets; clear of knives, guns and pop star Kamaliya, is finally ready. grenades, Kamaliya makes I’ve been sitting here in this vast Kiev her entrance at a club in Kiev; Danny Wallace toasts the mansion for nearly three hours and there’s Zahoors under the watchful been no sign of Kamaliya.
    [Show full text]
  • Iraq's Provincial Elections
    IRAQ’S PROVINCIAL ELECTIONS: THE STAKES Middle East Report N°82 – 27 January 2009 TABLE OF CONTENTS EXECUTIVE SUMMARY ...................................................................................................... i I. INTRODUCTION ............................................................................................................. 1 II. THE 2005 ELECTION, ITS DISCONTENTS AND ITS LEGACY.............................. 2 A. IMBALANCED COUNCILS ..............................................................................................................2 1. Ninewa (capital: Mosul) ..............................................................................................................2 2. Diyala (capital: Baaquba) ............................................................................................................4 3. Anbar (capital: Ramadi)...............................................................................................................5 4. Baghdad .......................................................................................................................................6 5. Basra ............................................................................................................................................7 B. DYSFUNCTIONAL GOVERNANCE AND THE ROLE OF RELIGION......................................................8 C. ELECTORAL LEGISLATION ..........................................................................................................11 D. TO VOTE OR NOT TO VOTE?.......................................................................................................12
    [Show full text]
  • 6 Months After Tsunami – 6 Months After
    Tsunami 6 Months After Tsunami – 6 Months After Plan International Asia Regional Office 2nd Floor, Na-Nakorn Building 99/349 Chaengwattana Road Laksi, Bangkok 10210 Tel +66 (0) 2 576 1972-4 Fax +66 (0) 2 576 1978 www.plan-international.org June 2005 Published by Plan Ltd. © Plan 2005 This publication is protected by copyright. It cannot be reproduced by any method without prior permission of the copyright owner. Photos: Cover (front and back): Michael Diamond, Plan Asia Country Photos: - Sri Lanka: Dominic Sansoni - India: Sonu Madhuvan - Indonesia: Maha Eka Swasta Text: Plan and the Tsunami: Plan Asia Regional Office Country Snapshots: Sandy Barron Design and layout: Keen Publishing (Thailand) Co., Ltd. Tsunami 6 Months After Foreword At the end of December 2004, Plan joined people from neighbouring communities, local governmental and voluntary organisations, and the international community to respond to the Indian Ocean tsunami disaster. It seems appropriate now both to reflect on what has happened since the tsunami struck, and to look at the work in the months and years ahead. The tsunami was an unprecedented disaster, both in terms of its impact and in the scale of local and international responses. Given this, what has Plan been able to achieve or not achieve over the past six months? How did Plan work with people in their struggle to reclaim their normal lives? What children’s issues were we in Plan able to address, and what issues remain? Outsiders tend to see the victims and survivors of disasters as a homogeneous group. In fact, there are as many stories as there are people.
    [Show full text]
  • Makeover Television in Russia: Imagining Queer Through Post
    Makeover Television in Russia: Imagining Queer Through Post-Soviet Aphasia By Olga Kazakevich Submitted to Central European University Department of Gender Studies In partial fulfilment of the degree of Master of Arts in Gender Studies Supervisor: Dr. Erzsébet Barát CEU eTD Collection Budapest, Hungary 2017 Abstract Through the analysis of the 2012 episode of the beauty makeover program Fashion Verdict (Modnyi Prigovor), Channel One (Pervyi Kanal), that features two lesbian women as participants and makes over one of them into a conventionally feminine woman, this thesis argues against oversimplifying interpretations of this show as homophobic. Drawing, theoretically, on the concept of queer visibility, the thesis argues that the ‘queer’ makeover episode should be seen from within the post-Soviet historical, political and cultural context due to the specificities of multiple cultural forces working in the post-Soviet discursive field, including the field of sexuality. In the context of the laws prohibiting the ‘propaganda of non- traditional sexual relations’ among minors passed in several Russian regions by 2012, the airing of the episode cannot be explained without discussing the work of some key media actors on Channel One, including CEO Konstantin Ernst, as it allows to see the Fashion Verdict episode in a perspective. Through the critical discourse analysis of the episode, the thesis claims that the show is offering its queer participants strategies of survival in an increasingly homophobic environment by means of adjusting their appearance to the norms of conventional femininity. These strategies, it is argued, are embedded in the Soviet discursive fields of queer experience and thus constitute what Serguei Oushakine has called post-Soviet aphasia.
    [Show full text]
  • On Behalf of the Federal Agency of Culture and Cinematography I
    ƒÓÓ„Ë ‰ÛÁ¸ˇ! Dear friends! ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ Ë Ï‡ÒÒÓ‚˚ı On behalf of the Ministry of Culture and Mass ÍÓÏÏÛÌË͇ˆËÈ –ÓÒÒËÈÒÍÓÈ ‘‰‡ˆËË Communications of the Russian Federation I ÔË‚ÂÚÒÚ‚Û˛ ‚ÒÂı Û˜‡ÒÚÌËÍÓ‚ Ë „ÓÒÚÂÈ XVIII welcome all participants and visitors of the 18th ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ Open Russian Film Festival ´Kinotavrª! ´üËÌÓÚ‡‚ª! This annual event is an integral part of our ≈„Ó ÂÊ„ӉÌÓ Ôӂ‰ÂÌË ˇ‚ΡÂÚÒˇ ÌÂÓÚ˙ÂÏÎÂÏÓÈ State policy on the support of the national ˜‡ÒÚ¸˛ „ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÓÎËÚËÍË ÔÓ ÔÓ‰‰ÂÊÍ cinema. ´Kinotavrª can, without exaggeration, ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÂχÚÓ„‡Ù‡. ´üËÌÓÚ‡‚ª be called the most anticipated event in the ÏÓÊÌÓ ·ÂÁ ÔÂÛ‚Â΢ÂÌˡ ̇Á‚‡Ú¸ Ò‡Ï˚Ï Russian film-season. For the 17 years of its ÓÊˉ‡ÂÏ˚Ï ÒÓ·˚ÚËÂÏ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÒÂÁÓ̇. «‡ existence this main national cinema event has ÒÂÏ̇‰ˆ‡Ú¸ ÎÂÚ Ò‚ÓÂ„Ó ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ „·‚Ì˚È gained a strong position, both in the Russian ̇ˆËÓ̇θÌ˚È ÍËÌÓÒÏÓÚ Á‡‚Ó‚‡Î ÔÓ˜Ì˚È film world and abroad. ‡‚ÚÓËÚÂÚ, Í‡Í ‚ ÓÒÒËÈÒÍÓÈ The festival is developing fast, becoming more ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓÈ Ò‰Â, Ú‡Í Ë ‚ Á‡Û·ÂÊÌÓÈ. dynamic and alive, saturated and informative. ‘ÂÒÚË‚‡Î¸ ÒÚÂÏËÚÂθÌÓ ‡Á‚Ë‚‡ÂÚÒˇ, ÒÚ‡ÌÓ‚ˇÒ¸ The success of festival films among Russian ·ÓΠ‰Ë̇Ï˘Ì˚Ï Ë ÊË‚˚Ï, ̇Ò˚˘ÂÌÌ˚Ï Ë audiences once again confirms that there is a ËÌÙÓχÚË‚Ì˚Ï.
    [Show full text]
  • ARTIGOS • LIVRE Imagens De Muçulmanos E Budistas Nos Filmes
    ARTIGOS • LIVRE Imagens de Muçulmanos e budistas nos filmes soviéticos sobre a Segunda Guerra (1950 -89) Moisés Wagner Franciscon * Dennison de Oliveira † Resumo A URSS, apesar de oficialmente ateia e possuir a maioria de sua população sem uma crença religiosa, possuía importantes minorias adeptas de algum credo. Ancorados em sua diversidade demográfica, muçulmanos e budistas representavam uma importante fatia dessa minoria. Ao contrário dos ortodoxos eslavos, esses grupos não eram considerados confiáveis pelo regime duplamente: como não eslavos e integrantes de cultos vistos como perigosamente reacionárias e explosivos. O cinema bélico costuma ser importante vetor de ideias nacionalistas ou pró- regime. No caso soviético, esse gênero cinematográfico portava as impressões oficiais sobre ambos os credos – apesar das ambiguidades de alguns diretores. A sócio-história cinematográfica de Marc Ferro permite uma melhor compreensão das relações do poder político e diplomático dos diferentes grupos da sociedade e do filme de guerra na União Soviética. Sua concepção de cinema como produto social com mensagens latentes e lapsos conscientes ou inconscientes mostram um quadro mais complexo do que o de uma estrutura de poder piramidal que suprimiria sentimentos religiosos na sociedade. Os filmes de guerra selecionados (14 filmes produzidos entre 1950-89) são ambientados na Segunda Guerra e possuem como protagonistas ou coadjuvantes personagens caracterizados como membros das populações de tradição muçulmana ou budista dentro das fronteiras soviéticas, ou filmes produzidos por diretores e estúdios localizados nas repúblicas associadas com estas religiões. Palavras -chave: História social do cinema, filme de guerra, religião, União Soviética. Abstrac t The USSR, although officially atheist and possessing the majority of its population without a religious belief, possessed important minorities adhering to some creed.
    [Show full text]
  • The Russian Television Industry in the Global Age
    Moscow Goes Hollywood: The Russian Television Industry in the Global Age by Jeffrey R. Brassard A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Sociology University of Alberta © Jeffrey R. Brassard, 2017 Abstract This study examines ways that both authoritarian capitalism and global flows of culture have shaped the Russian television industry. This dissertation explores three main questions: How does the system of state-directed capitalism shape television production, particularly with regards to balancing propaganda and profit? What kinds of representations are possible on television in Russia under authoritarian capitalism? What is the relationship of the Russian television industry with other parts of the global media industry? To explore these questions, this dissertation examines the structure of the Russian television industry with particular attention given to the most important channels and production companies. In all cases, the relationship of these companies to both the Putin-led state and their level of integration with the global television marketplace is examined in-depth. Using a mix of semi-structured interviews with industry workers, analysis of industry trade journals, popular press and textual analysis, this dissertation examines four of the main television stations in the country all of whom have different relationships to the state. I argue that typical accounts of Russian media as merely serving the interests of the state are overly simplistic. The expectation that television channels or production companies linked to the ruling elite create programming that supports the Putin government’s nation-building efforts while commercial stations use their platforms to criticize the status-quo is shown to be erroneous.
    [Show full text]