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On the Competition Programme of the 31St Moscow IFF
On the Competition Programme of the 31st Moscow IFF By Christina Stojanova Fall 2009 Issue of KINEMA CHARACTERS AND CIRCUMSTANCES: NOTES ON THE COMPETITION PRO- GRAMME OF THE 31st MOSCOW IFF If a common aesthetic denominator of the competition films, presented at the 31st Moscow International Film Festival (June 19-28, 2009) is to be found, it would be the predominance of mythos (plot) over ethos (character). While most of the characters were ordinary people - that is, ”responding to our sense of common humanity” and like us not distinguished by ”superior power of action and intelligence” - the extraordinary circumstances were removed either in time, space or in degree from ”the cannons of probability that we would find in our own daily experience” (See Frye). In other words, the Moscow competition filmswere,as Aristotle would have it, about the predominance of the plot, the soul of the play, and stood or fell upon its intricacies, overshadowing the particular psychological and moral make-up of its dramatis personae. Whether good or bad, they suffered more as a consequence of an act or happenstance outside of them: usually defined as destiny or fate in ancient Greek plays and romantic (melo) drama, and in modern times as historical inevitability or social determinism. The sense of entrapment in these films was additionally enhanced by the prevalent arrangement ofthe incidents as a guest of sorts, usually leading nowhere and leaving the protagonists either dead or much worse off. As is to be expected in this line of thought, the most intriguing films in competition were Russian (Aleksandr Proshkin’s Miracle/ Chudo; Nikolai Dostal’s Petya On The Way to Heaven/ Petya po doroge v tsarstvie nebesnoe ), or in Russian (Kira Muratova’s FIPRESCI winner Melody for a Barrel-Organ (Melodiya dlya sharmanki), made in Ukraine. -
Troiker 042010 Eng 1
[EDITORIAL] Dear Troikers, In this issue of The Troiker we tried to look into the future, but we quickly decided not to get carried away, however tempting this may be. The future is ever-changing, dependant upon the roads we take today and the decisions we make right now. Behrad Khamesee, inventor of microscopic robots, spends his days doing his work, hardly preoccupied with the thought that ten years from now these robots will perform surgery at the cellular level. His life is here and now, enraptured with his invention and giving it his all. Ukranian inventor Igor Pasternak is busy working on a hybrid airplane and blimp. He may have the occasional reverie that his ‘flying mansion’ will one day become the most popular mode of transport, but he spends most of his time making this wonder a reality. Behind every new discovery stands a person enraptured by their idea taking pleasure in realizing it. This issue of our magazine isn’t just about the future, but the people who create it. The key interviews in this issue cover Troika’s strategy and development prospects. The ‘Profession’ column reveals the myths and reality of the work of compliance officers. The ‘Team’ section is about the magicians in the IT Department. Read, dare, create! Best regards, The Troiker Editorial Photo: Ivan Kurennoy Photo: Ivan №8 Founder Inspired by Custom Publishing Independent Media Sanoma Magazines Editorial adress Prepress The Closed Joint-Stock Gor Nakhapetian Director Custom Publishing Photo Editors 3 Polkovaya ul., bldg.1 ArtLion Company “Investment Inna Miloserdova Galina Ustinova Evgenia Starkova Moscow, Russia, 127018 Printhouse company “Troika Project Managers Project Manager Olga Razgovorova Tel.: +7 495 232 32 00 Graffiti Dialog” Ekaterina Semenova Olga Kumakhova www.gopublishing.ru Tel.: (495) 725-09-09 4 Romanov pereulok Marina Liubanskaya Art Director In the issue were used photos from www.graffiti.ru Moscow Russia 125009 Internal Communications Mariana Modyrka the fotobank of Troika Dialog. -
Incommensurate Russia
perry anderson INCOMMENSURATE RUSSIA t will soon be a quarter of a century since Russia left com munism behind. Its present ruler has been in power for fifteen years, and by the end of his current term in office will have all but equalled the tenure of Brezhnev. From early on, Western Iopinion of his regime divided sharply. That under Putin—after a period of widespread misery and dislocation, culminating in near state bankruptcy—the country had returned to economic growth and political stability, was evident by the end of his first term; so too the popularity he enjoyed because of these. But beyond such bare data, there was no consensus. For one camp, increasingly vocal as time went on, the pivots of Putin’s system of power were corruption and repres sion: a neoauthoritarian state fund amentally inimical to the West, with a wrapping of legal proprieties around a ramshackle pyramid of klep tocracy and thuggery. This view prevailed principally among reporters, though it was not confined to them: a representative sample could be found inEconomist editor Edward Lucas’s The New Cold War (2009), Guardian journalist Luke Harding’s Mafia State (2012), Standpoint contributor Ben Judah’s Fragile Empire (2013), but expressed no less pungently by a jurist like Stephen Holmes. For Lucas, Putin, having seized power with a ‘cynical putsch’, and maintained it with the ‘methods of terrorists and gang sters’, had ‘cast a dark shadow over the eastern half of the continent’. For Harding, under Putin’s tutelage, ‘Russia has become bullying, violent, cruel and—above all—inhuman’. -
Cinemahungaro.Pdf
Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina Produção Geração Praça Moscou: O Cinema Húngaro Contemporâneo O Ministério da Cultura e o Banco do Brasil apresentam Geração Praça Moscou: O Cinema Húngaro Contemporâneo. A mostra contempla um debate e dezesseis filmes produzidos nos anos 2000, que traçam um panorama da nova produção cinematográfica da Hungria. As películas, em sua maioria inéditas no Brasil, integraram diversos festivais internacionais e exibem um olhar sobre a geração pós-comunista do Leste Europeu. O filme Praça Moscou, que intitula a seleção, é um dos precursores desta expressão da nova realidade cinematográfica da Hungria. Ao realizar este projeto, o Centro Cultural Banco do Brasil reafirma sua proposta de promover programação que estimule reflexão por meio de temas importantes e polêmicos, além de apresentar ao público uma filmografia internacional pouco divulgada no país. Centro Cultural Banco do Brasil ISBN 978-85-85688-55-4 “Talvez seja a ironia que nos liga. Em nossos filmes, não há brincadeira e gargalhada. O humor é fruto do encarar o mundo.” György Pálfi, diretor, referindo-se aos cineastas de sua geração 1989 O ano de 1989 foi decisivo para o sistema socialista no Leste Europeu: em janeiro, Károly Grósz, o primeiro ministro da Hungria, anuncia que em algumas semanas começará o recuo das tropas soviéticas do país. O 41º presidente dos EUA assume oficialmente seu cargo; é George H. W. Bush, que viria a advogar pela necessidade do pluripartidarismo em uma posterior visita oficial à Alemanha Ocidental – a das eleições livres e da queda do Muro de Berlim. -
Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the International Cinema Addict's Definitive Resource 814ILL 4:T2 PM
Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the international cinema addict's definitive resource 814ILL 4:T2 PM Stilyagi (Crnilntlt) Review Published May 151h,2009 in Europe & Russia and Reviews. 4 Comments Musical comedy is hardly a genre most people would associate with modern Russian cinema. Traditionally known and respected for such somber and inquisitive works as Nikita Mikhalkov's Burnt by the Sun (1994), Andrei Zvyagintsev's The Return (2001), and Aleksei Balabanov's Cargo 200 (2OO7), post-Soviet Russian directors had generally focused on negative aspects of the Russian experience until the early 2000s, when waves of cash flowing from the country's oil and gas-fueled economic boom finally reached the film industry, resulting in the production of commercially-oriented blockbusters such as Night Watch (2OO4) and The 9th Company (2OO5). Continuing this trend and taking it in a new direction is Valeriy Todorovskiy's new frlm Stilyagi (Hipsters). Featuring an all-star cast, dynamic script and slick cinematography, Stilyagi takes the viewer on an epic joy ride through 1955 Moscow, two years after Stalin's death. At the height of the Cold War in the Soviet Union, the titular stilyagi were a bunch of Western-oriented hipsters who loved jazz, exhibited questionable morals and enjoyed dressing with style. Mels (Anton Shagin), a seemingly brainwashed member of the Communist youth group Komsomol, falls in love with Polza (Oksana Akinshina) while raiding an illegal underground nightclub . Polza invites Mels to join her and her friends on the "Broadway" and Mels is dumbfounded when he shows up to the party dressed plainly and looking apologetic. -
Russian Cinema Now, an 11-Film Showcase of Contemporary Films, May 31— Jun 13
BAMcinématek presents the 30th anniversary of Andrei Tarkovsky’s Nostalghia for two weeks in a new 35mm print, alongside Russian Cinema Now, an 11-film showcase of contemporary films, May 31— Jun 13 In association with TransCultural Express: American and Russian Arts Today, a partnership with the Mikhail Prokhorov Fund to promote cultural exchange between American and Russian artists and audiences Three North American premieres, three US premieres, and special guests including legendary Fugees producer John Forté and friends and acclaimed directors Sergei Loznitsa and Andrey Gryazev The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/May 10, 2013—From Friday, May 31 through Thursday, June 13, BAMcinématek presents a two-week run of Russian master Andrei Tarkovsky’s Nostalghia in a new 35mm print for its 30th anniversary, alongside Russian Cinema Now, a series showcasing contemporary films with special guests and Q&As. Both programs are part of TransCultural Express: American and Russian Arts Today, a collaborative venture to promote cultural exchange and the Mikhail Prokhorov Fund’s inaugural artistic alliance with a US performing arts institution. For more information on TransCultural Express, download the program press release. A metaphysical exploration of spiritual isolation and Russian identity, Tarkovsky’s (Solaris, Stalker) penultimate film Nostalghia (1983) follows Russian expat and misanthropic poet Andrei (Oleg Yankovsky, The Mirror) as he travels to Italy to conduct research on an 18th-century composer. In the course of his study, he is overcome by melancholy and a longing for his home country—a sentiment reflective of the exiled Tarkovsky’s own struggle with displacement, this being his first film made outside of the USSR (the film’s Italian title translates as “homesickness”). -
National History Bowl National Championships Playoff Round 3
National History Bowl National Championships Playoff Round 3 Round: Supergroup Group Room: Reader: Scorekeep: Team Names, including letter designation if needed, go in the large boxes to the right. TU# Bonus Bonus Points Cumulative Score Bonus Points Cumulative Score 1 Quarter 1 2 Tossups Only 3 4 Put a "10" in the 5 column of the team 6 that answers correctly. 7 Otherwise leave box 8 blank. 9 10 1 Quarter 2 2 Tossups and bonuses 3 Put "10" in the team's 4 column. Otherwise, 5 leave box blank. 6 For bonuses, put "0" or 7 Substitutions allowed between Qtrs all "10" in the bonus 8 column. 9 10 Quarter 3 points points 60 sec. rds - trailing team Lightning Lightning goes first. 10 pts each. Bounceback Bounceback 20 pt bonus for sweep! Total Total 1 Quarter 4 2 Tossups worth 30, 20, or 3 10 points each 4 Put the appropriate 5 number in the column of 6 the team that answers 7 correctly. Otherwise leave 8 box blank. 9 10 Tiebreakers 1 Tiebreak questions Tie Breaker (Sudden are only used 2 have no point value Victory) to determine winner! 3 at all! Final Score NHBB Nationals Bowl 2017-2018 Bowl Playoff Packet 3 Bowl Playoff Packet 3 First Quarter (1) This organization's creation was built on a \risk theory" that its rival would allow it to become a superpower rather than risk a pitched battle. This organization was expanded under three Novelles, the first of which ordered the creation of four Nassau class ships. This force was expanded by Alfred von Tirpitz, which responded to the Great Britain's Dreadnought with an arms race prior to WWI. -
Tarkovsky Is for Me the Greatest, the One Who Invented a New Language, True to the Nature of Film As It Captures Life As a Reflection, Life As a Dream.”
stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press Curzon Mayfair 38 Curzon Street 7 – 13 DECEMBER London W1J Features £10/£8 Curzon Members; www.curzoncinemas.com Documentaries £6.50 Box Office: 0871 7033 989 TARKOVSKY FESTIVAL – A RETROSPECTIVE As part of the celebration of the 75th Anniversary of one of the undisputed masters of world cinema, Andrei Tarkovsky (1932 – 1986), Curzon Cinemas and Artificial Eye present screenings of his feature films, documentaries about him, and the reading of a stage play related to his work. Most screenings will be introduced by an actor or member of the crew, followed by a Q&A. Related activities will take place across the capital. “Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film as it captures life as a reflection, life as a dream.” Ingmar Bergman FRI 7 DECEMBER 7PM OPENING GALA PLUS Q&A: THE SACRIFICE (PG) – NEW PRINT Director: Andrei Tarkovsky / Starring: Erland Josephson, Susan Fleetwood, Gudrun Gisladottir / Russia 1986 / 148 mins / Russian with English subtitles Tarkovsky's final film unfolds in the hours before a nuclear holocaust. Alexander is celebrating his birthday when a crackly TV announcement warns of imminent nuclear catastrophe. Alexander makes a promise to God that he will sacrifice all he holds dear, if the disaster can be averted. The next day dawns and everything is restored to normality, but Alexander must now keep his vow. We hope to welcome on stage lead actress Gudrun Gisladottir, and Layla Alexander-Garrett, the interpreter on THE SACRIFICE. -
Bee Final Round Bee Final Round Bee Final Round
IHBB Alpha Asia MS Bee 2015-2016 Bee Final Round Bee Final Round Bee Final Round (1) This program refurbished the Cominco plant as part of its P-9 Project, and it absorbed the similar British \Tube Alloys" program under the direction of Leslie Groves. One of its facilities was built to take advantage of TVA hydroelectric dams at Oak Ridge, and it used a gun range at Alamogordo to carry out the July 16, 1945 Trinity test. For the point, name this program led by J. Robert Oppenheimer from Los Alamos National Labs, where the first nuclear weapons were produced. ANSWER: Manhattan Project (prompt on descriptions of the American nuclear weapons development program) (2) One man from this country led the first crossing of Greenland's interior, and was the namesake of a League of Nations passport for refugees; that man was Fridjof Nansen. Another explorer from this country disappeared in 1928, while leading a rescue attempt for the survivors of the airship Italia; that man had earlier led the first successful expedition to reach the South Pole. Roald Amundsen was from, for the point, what Scandinavian country whose capital is Oslo? ANSWER: Norway (3) One section of this work establishes solidarity with the Chartist and agrarian reform movements. This book advocates ten \planks," including a graduated income tax and universal free education, and its opening describes the opposition posed by a \holy alliance." This work claims that \a spectre is haunting Europe," and defines history in terms of class struggles. For the point, name this 1848 work that implores the \workers of the world [to] unite," written by Friedrich Engels and Karl Marx, which inspired a namesake political movement. -
Alexander Sokurov Poeta Visual CDD: 791.430947
Afeição da Virgem Ícone de Novgorod (sec. XII) Coleç ã o do Kremlin, Moscou III Albrecht Dürer Melancolia (1514) Metropolitan Museum of Art, Nova York V Pieter Bruegel Torre de Babel (1563) Kunsthistorisches Museum, Viena VII El Greco (Doménikos Theotokópoulos) Os apóstolos Pedro e Paulo (1592) Museu Hermitage, São Petersburgo IX Rembrandt Van Rijn Boi esquartejado (1655) Museu do Louvre, Paris XI Pieter Saenredam Praça de Santa Maria e Igreja de Santa Maria em Utrecht (1662) Museu Boymans Van Beuningen, Rotterdam XII Hubert Robert Pintores (década de 1790) Museu Hermitage, São Petersburgo XIII Caspar David Friedrich Andarilho sobre o mar de neblina (1818) Kunsthalle Hamburgo XV Alexander Sokurov poeta visual CDD: 791.430947 A 378 Alexander Sokurov: poeta visual / organização Fábio Savino e Pedro França. Rio de Janeiro: Banco do Brasil, Ministério da Cultura, Zipper Produções, 2013. 302p. il. ISBN: 978-85-64723-01-6 Catálogo da mostra de cinema realizada no Centro Cultural do Banco do Brasil no Rio de Janeiro, de 7 a 26 de maio, Centro Cultural do Banco do Brasil em São Paulo, de 22 de maio a 16 de junho e Centro Cultural do Banco do Brasil em Brasília, de 11 a 30 de junho. 1. Sokurov, Alexander, 1951- . 2. Cinema russo – Brasil – mostra de cinema. I. Savino, Fábio. II. França, Pedro. III. Centro Cultural do Banco do Brasil. Brasil. Ministério da Cultura. Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina Alexander Sokurov poeta visual Organização Fábio Savino e Pedro França CCBB Rio de Janeiro 7 a 26 de maio CCBB São Paulo 22 de maio a 16 de junho CCBB Brasília 11 a 30 de junho 2013 Banco do Brasil e Ministério da Cultura apresentam Alexander Sokurov – poeta visual, mostra de cinema que traça um panorama da obra do premiado cineasta russo, reconhecido pela European Film Academy como um dos maiores diretores do cinema mundial. -
'God's Friend, the Whole World's Enemy'
This article from Netherlands Journal of Legal Philosophy is published by Eleven international publishing and made available to anonieme bezoeker ‘God’s Friend, the Whole World’s Enemy’ Reconsidering the role of piracy in the development of universal jurisdiction. Louis Sicking ‘And so if justice is left out, what are kingdoms except great robber bands? For what are robber bands except little kingdoms? The band also is a group of men gov- erned by the orders of a leader, bound by a social compact, and its booty is divided according to a law agreed upon. (…) Alexander the Great (…) [asked] a certain pirate whom he had captured (…) what he was thinking of, that he should molest the sea, he said with defiant independ- ence: “The same as you when you molest the world! Since I do this with a little ship I am called a pirate. You do it with a great fleet and are called an emperor.”’ Augustine, The City of God.1 1 Introduction Piracy, including the ways in which it was viewed over time, is predominantly considered the way David Luban does in his article with the telling title ‘The Enemy of All Humanity.’2 This common approach takes Cicero’s concept ‘enemy of all’ (communis hostis omnium) as a point of departure and ends with the special place piracy holds today within the field of international law because of the uni- versal jurisdiction that applies. In between legal scholars are mentioned who used or adapted Cicero’s expression, including the medieval jurist Bartolus Saxoferrato (1314-1357) and the early modern jurist Alberico Gentili (1552-1608) who con- nected piracy with the law of nations. -
Aleksandr Sokurov's Days of Eclipse Vs the Strugatskii Brothers
Loyalty by obfuscation: Aleksandr Sokurov’s Days of eclipse vs the Strugatskii brothers’ A billion years before the end of the world1 Andrei Rogatchevski Abstract. This article seeks to rectify two misconceptions that have been following Aleksandr Sokurov’s award-winning sf film Days of Eclipse (Dni zatmeniia; USSR 1988) almost since its release. The first is reflected in the claim that the film – with its odd mix of enigmatic fictional scenes and documentary footage that would not look out of place on a visual anthropology course – is not only difficult to fathom but downright ‘anti-explicatif’ (Ostria 59).2 The second has been expressed in a statement that Days of Eclipse ‘has altered everything but the names of the principal characters’ (Moskvina 45) in the Strugatskii brothers’ story it has adapted, A Billion Years Before the End of the World (Za milliard let do kontsa sveta, 1976-77; see Strugatskie 1988: 3-148).3 Even Boris Strugatskii himself said of the film that, ‘significant, powerful and sui generis exceptional’ as it may be, it is ‘far removed from both the original book and the last version of the authors’ script’ (Strugatskie 2001: 648). I will argue that there is enough left of the source material in the film to help the viewer make sense of it – especially if the viewer has a prior knowledge of the source material. I will also try to explain why Sokurov has opted for obscuring the Strugatskiis’ message as his book adaptation strategy. Finally, I will attempt to categorise Sokurov’s approach to film adaptation in the context of some of his other films, as well as some Strugatskii-related films by other directors.