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Editor Recommended Texts Here Are Some Ideas for Texts and Films That
Editor recommended texts Here are some ideas for texts and films that our language editors have recommended. These are just suggestions though so if there is a particular author or film you would rather look at, you may do so! English translations can be found in libraries and online bookstores but we encourage giving the texts in their original versions a go too - especially for 6th form submissions! Many of the films can be found online (Amazon, Mubi, Youtube, Netflix) or can be bought on DVD. FRENCH o TEXTS: Monsieur Ibrahim et les fleurs du coran, Eric Schmitt Stupeur et tremblements, Amélie Nothomb Le Petit Prince, Antoine de Saint Exupéry Boule de Suif, Guy de Maupassant Oran, langue morte Assia Djebar (collection of short stories) Le Silence de la mer, Vercors (Jean Bruller) (A-level) Candide, Voltaire (A-Level) o FILMS: Entre les murs, Laurent Cantet (15) https://www.imdb.com/title/tt1068646/ Portrait de la jeune fille en feu, Céline Sciamma (15) https://www.imdb.com/title/tt8613070/ Stupeur et tremblements, Alain Corneau (12A) https://www.imdb.com/title/tt0318725/ Les misérables (2019), Ladj Ly (15) https://www.imdb.com/title/tt10199590/?ref_=tt_pg Amélie, Jean-Pierre Jeunet (15) https://www.imdb.com/title/tt0211915/?ref_=tt_pg Populaire, Régis Roinsard (12A) https://www.imdb.com/title/tt2070776/ Les Choristes, Christophe Barratier (12A) https://www.imdb.com/title/tt0372824/?ref_=fn_al_tt_1 Kirikou et les bêtes sauvages, Michel Ocelot, Bénédicte Galup (U) https://www.imdb.com/title/tt0455142/?ref_=fn_al_tt_1 -
What Makes a Restaurant Ethnic? (A Case Study Of
FORUM FOR ANTHROPOLOGY AND CULTURE, 2017, NO. 13 WHAT MAKES A RESTAURANT ETHNIC? (A CASE STUDY OF ARMENIAN RESTAURANTS IN ST PETERSBURG) Evgenia Guliaeva Th e Russian Museum of Ethnography 4/1 Inzhenernaya Str., St Petersburg, Russia [email protected] A b s t r a c t: Using restaurants in St Petersburg serving Armenian cuisine as a case study, the article studies the question of what makes an ethnic restaurant ethnic, what may be learnt about ethnicity by studying a restaurant serving a national cuisine, and to what extent the image of Armenian cuisine presented in Armenian restaurants corresponds to what Armenian informants tell us. The conclusion is that the composition of the menu in these restaurants refl ects a view of Armenian cuisine from within the ethnic group itself. The representation of ethnicity is achieved primarily by discursive means. Neither owners, nor staff, nor customers from the relevant ethnic group, nor the style of the interior or music are necessary conditions for a restaurant to be accepted as ethnic. However, their presence is taken into account when the authenticity or inauthenticity of the restaurant is evaluated. Armenian informants, though, do not raise the question of authenticity: this category is irrelevant for them. Keywords: Armenians, ethnicity, ethnic restaurants, national cuisine, authenticity, St Petersburg. To cite: Guliaeva E., ‘What Makes a Restaurant Ethnic? (A Case Study of Armenian Restaurants in St Petersburg)’, Forum for Anthropology and Culture, 2017, no. 13, pp. 280–305. U R L: http://anthropologie.kunstkamera.ru/fi -
Film, Philosophy Andreligion
FILM, PHILOSOPHY AND RELIGION Edited by William H. U. Anderson Concordia University of Edmonton Alberta, Canada Series in Philosophy of Religion Copyright © 2022 by the authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200, C/Sancti Espiritu 17, Wilmington, Delaware 19801 Malaga, 29006 United States Spain Series in Philosophy of Religion Library of Congress Control Number: 2021942573 ISBN: 978-1-64889-292-9 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image: "Rendered cinema fimstrip", iStock.com/gl0ck To all the students who have educated me throughout the years and are a constant source of inspiration. It’s like a splinter in your mind. ~ The Matrix Table of contents List of Contributors xi Acknowledgements xv Introduction xvii William H. -
The Semiotics of Advertising In
THE SEMIOTICS OF ADVERTISING IN POST-SOCIALIST RUSSIA: CULTURALLY SIGNIFICANT MEANINGS IN TELEVISION COMMERCIALS DURING THE PERIOD OF TRANSITION AND GLOBALIZATION By Alexander Minbaev Submitted to Central European University History Department In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: Professor Marsha Siefert CEU eTD Collection Second Reader: Professor György Endre Szönyi Budapest, Hungary 2013 Abstract This thesis aims to answer a research question of how television commercials appealed to Russian national identity using culturally significant meanings in post-socialist context. In order to do so the thesis examines television commercials adopting semiotic approach. Using of semiotics presupposes the analysis of advertisements as system of signs and as narratives. Commercials are analyzed within their historical context from the late 1980s to the early 2000s. Thesis focuses on the culturally significant meanings deployed in the television advertising through folklore, nostalgia, stereotypes and history in order to appeal to Russian national identity. Commercials chosen for semiotic analysis are taken from different periods of post- socialist Russian history and are examined as case studies, each of which appealing to Russianness using specific techniques, thus comprising a unique style of Russian advertising. Depending on a particular time period within the development of Russian post-socialist advertising, different methods were applied to appeal to potential consumers through exploitations of shared beliefs and values, including national identity that forms the continuous field within the frame of post-socialist advertising. Using semiotic tools from the studies of signs, such as binary opposition, the thesis examines commercials both interpretatively and within their historical context. -
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 -
Saturday, December 8, 2018
Saturday, December 8, 2018 Registration Hours: 7:00 AM – 5:00 PM, 4th Floor Exhibit Hall Hours: 9:00 AM – 6:00 PM, 3rd Floor Audio-Visual Practice Room: 7:00 AM – 6:00 PM, 4th Floor, office beside Registration Desk Cyber Cafe - Third Floor Atrium Lounge, 3 – Open Area Session 9 – Saturday – 8:00-9:45 am Slovak Studies Association - (Meeting) - Rhode Island, 5 9-01 Genocide, Identity, and the Nation in the Nazi-Occupied Soviet Territories - Arlington, 3 Chair: Mark Roseman, Indiana U Bloomington Papers: Maris Rowe-McCulloch, U of Toronto (Canada) "August 1942—A Most Violent Month: Violence of Occupation and the Holocaust in German- Controlled Rostov-on-Don, Russia" Trevor Erlacher, UNC at Chapel Hill "Caste, Race, and the Nazi-Soviet War for Ukraine: Dmytro Dontsov at the Reinhard Heydrich Institute" Gelinada Grinchenko, V.N. Karazin Kharkiv National U (Ukraine) "How They were Performed: The ‘Dramaturgy’ of Trials of World War II Crimes in the Ukrainian SSR" Disc.: Mark Roseman, Indiana U Bloomington 9-02 Imagined Geographies II: Steppe and Forest: The Historical Dialectic Between Two Ecological Zones - (Roundtable) - Berkeley, 3 Chair: Christine Bichsel, U of Fribourg (Switzerland) Part.: Stephen Brain, Mississippi State U Christopher David Ely, Florida Atlantic U Ekaterina Filep, U of Fribourg (Switzerland) Michael Khodarkovsky, Loyola U Chicago Mikhail Yu. Nemtsev, Independent Scholar 9-03 Laughing Our Way through Soviet History - (Roundtable) - Boston University, 3 Chair: Mayhill C. Fowler, Stetson U Part.: Marilyn Campeau, U of Toronto -
Mediaobrazovanie) Media Education (M Ediaobrazovanie
Media Education (Mediaobrazovanie) Has been issued since 2005. ISSN 1994–4160. E–ISSN 1994–4195 2020, 60(1). Issued 4 times a year EDITORIAL BOARD Alexander Fedorov (Editor in Chief ), Prof., Ed.D., Rostov State University of Economics (Russia) Imre Szíjártó (Deputy Editor– in– Chief), PhD., Prof., Eszterházy Károly Fõiskola, Department of Film and Media Studies. Eger (Hungary) Ben Bachmair, Ph.D., Prof. i.r. Kassel University (Germany), Honorary Prof. of University of London (UK) Oleg Baranov, Ph.D., Prof., former Prof. of Tver State University Elena Bondarenko, Ph.D., docent of Russian Institute of Cinematography (VGIK), Moscow (Russia) David Buckingham, Ph.D., Prof., Loughborough University (United Kingdom) Emma Camarero, Ph.D., Department of Communication Studies, Universidad Loyola Andalucía (Spain) Irina Chelysheva, Ph.D., Assoc. Prof., Anton Chekhov Taganrog Institute (Russia) Alexei Demidov, head of ICO “Information for All”, Moscow (Russia) Svetlana Gudilina, Ph.D., Russian Academy of Education, Moscow (Russia) Tessa Jolls, President and CEO, Center for Media Literacy (USA) Nikolai Khilko, Ph.D., Omsk State University (Russia) Natalia Kirillova, Ph.D., Prof., Ural State University, Yekaterinburg (Russia) Sergei Korkonosenko, Ph.D., Prof., faculty of journalism, St– Petersburg State University (Russia) Alexander Korochensky, Ph.D., Prof., faculty of journalism, Belgorod State University (Russia) W. James Potter, Ph.D., Prof., University of California at Santa Barbara (USA) Robyn Quin, Ph.D., Prof., Curtin University, Bentley, WA (Australia) Alexander Sharikov, Ph.D., Prof. The Higher School of Economics, Moscow (Russia) Vladimir Sobkin, Acad., Ph.D., Prof., Head of Sociology Research Center, Moscow (Russia) Kathleen Tyner, Assoc. Prof., Department of Radio– Television– Film, The University of Texas at Austin (USA) Svetlana Urazova, PhD., Assoc. -
Media Culture Soviet Film Critics About Soviet Cinema: From
Медиаобразование. Media Education. 2017. № 1 Media Culture Soviet film critics about Soviet cinema: from censorship to Gorbachev's perestroika Prof. Dr. Alexander Fedorov, Rostov State University of Economics, Russia E-mail: [email protected] Abstract Moscow publishing house Art began to produce in mid-1960s annual book collection Screen, which was to reflect the most important cinematic events in the USSR and the world. The first collection of this kind - Screen 1964 - was printed edition of 45,500 copies. The circulation of the next two collections were 30-35 thousand copies. From 1968 to 1985 the Screens were annually with a circulation of 50 thousand copies. Screen 1987 circulation has been increased to 75 thousand, but the rest of the collection issues have returned to the circulation of 50 thousand copies. Each book is illustrated with black-and-white frames of the movies and photos masters of the screen. Yearbooks Screen became a mirror of the Soviet criticism of the 1960s - 1980s, reflecting all ups and downs, forced to default figures, ideological passages, thaw and perestroika hope... From the time of the fisrt to last annual output has been a quarter century. Soviet film criticism changed significantly. The main materials for this article was articles of Soviet film critics about Soviet cinema in Screen yearbooks. The methods of theoretical research: classification, comparison, analogy, induction and deduction, abstraction and concretization, theoretical analysis and synthesis; methods of empirical research: collecting information related to the research subjects. Keywords: film critic, film studies, Soviet, USSR, film, movies, cinema, censorship. * Article was written as part of research with the financial support of the grant of the Russian Scientific Foundation (RNF). -
Cultural Neighbourhoods and Coproductions in South East Europe and Beyond 4Th Conference on Contemporary Greek Film Cultures
Cultural Neighbourhoods and Coproductions in South East Europe and Beyond 4th Conference on Contemporary Greek Film Cultures Eleni Sideri (ed.) θεσσαλονίκη 2021 © 2021 University of Macedonia Press ISBN: 978-618-5196-58-5 The University of Macedonia Press 156 Egnatia st, 546 36 Thessaloniki, Greece T +30 2310 891.743 F +30 2310 891.731 E [email protected] W www.uom.gr/uompress/ Production editing: University of Macedonia Press Acknowledgment I would like to express my gratitude to Fotini Tsibiridou, Head of the Department of Balkan, Slavic and Oriental Studies and Director of the Lab/Cultures-Borders-Gender, to Tonia Ka- zakopoulou, University of Reading and Contemporary Greek Film Cultures. Furthermore, I would like to thank Anna Moumtzoglou and Elina Kapetanaki from the Lab/Cul- tures-Borders-Gender and Stathis Tsakidis from the IT centre of the University of Macedonia as well as the Scientific and Or- ganizing Committees Effie Voutira, Nikolaos Liazos, Gergana Doncheva, Evgenia Giannouri, Stefania Filipova- Mertzimeki I would like to thank all the participants in the conference, those who manage to be with us in August (see https://contem- porarygreekfilmcultures4.blogspot.com/2020/03/) but also, those who initially agreed but due to COVID-19, could not be with us in the end as well as the contributors to this volume. Μoreover, I would like to thank the anonymous reviewers for offering fruitful comments on the papers on this volume. Finally, I am indebted to the Research Committee of the University of Macedonia to support the conference as well as the publication of this volume. -
A Man from Boulevard Des Capucines (1987) 6.30Pm Cine Alla Surikova
Melodia! Discovering Musicals From Russia and the Caucasus 22 January 2020 A Man from Boulevard des Capucines (1987) 6.30pm Cine Alla Surikova A Man from the Boulevard des Capucines (Russian: Chelovek s became one of the very few female directors of the comedy bulvara Kaputsinov) alludes directly to the Lumière brothers and genre to have a prominent voice in the Soviet film industry. their first cinema screening, famously projected onto the walls of a building in the Boulevard des Capucines in Paris in 1895. It The film itself stands on the crossroads of genre. On the one might be a surprising (and long) choice of title but this is a film side, it is an ‘eastern’ or ‘red western’ – a specifically cold war of surprises. After all, this 1987 Soviet musical is both a loving genre presenting films set in America's Wild West, but shot in homage to the birth of cinema and also one final ray of light the Asian part of the Soviet Union, or films presenting these from a golden age of Soviet musical comedy. parts of the Soviet Union through the aesthetics of a western. On the other hand, the film draws from the already established The connection to the Lumières comes about through the tradition of Soviet comedies, especially fantasy musical speech of protagonist Mr. John First (Johnny) played by the comedies, such as Ordinary Miracle (1978, also starring Andrei Soviet theatre and film star Andrei Mironov. Mironov, one of the Mironov) or Charodei (1982; which shares the female lead great Soviet stars, died the same year, making this his Aleksandra Yakovleva); and a broader tradition of allegorical penultimate film role. -
2012 (Mit Nachträgen Und Korrekturen Für Die Jahre 1998 – 2011)
Wilbert Ubbens Kommunikationshistorische Aufsätze in Zeitschriften des Jahres 2012 (mit Nachträgen und Korrekturen für die Jahre 1998 – 2011) (Unvollständig veröffentlicht in JbKG 15 (2013) S. 243-337) 10.2. Einzelne Personen Aberg, Anders Wilhelm: Art is born on the border of taboo: Vilgot Sjöman in Hollywood. In: Journal of Scandinavian cinema 1 (2011) 2, S. 159-162. [Über den Filmregisseur Sjöman (1924 – 2006) und sein Buch über Hollywood 1961] Agde, Günter: Zwischen Mahlsteinen. Der Regisseur Günter Stahnke und sein Film ›Der Frühling braucht Zeit‹ (1965). In: Filmblatt 17 (2012) 48, S. 33-45. [Stahnke (geb. 1928)] Alexandre Herzen (1812 – 1870). Son époque, sa postérité. Ed. Korine Amacher, Michel Mervaud. In: Revue des études slaves 83 (2012) 1, S. 9-250. [Themenheft mit 13 Beiträgen zum Philosophen, Schriftsteller und Publizisten Aleksandr Ivanovic Gercen, hier nicht einzeln verzeichnet] Alfonso García, María del Carmen: Llamas y rescoldos nacionales: ›Con la vida hicieron fuego‹, novela de Jesús Evaristo Casariego (1953) y película de Ana Mariscal (1957). In: Arbor: Ciencia, pensiamento y cultura 188 (2012) 758, S. 1087-1106. [Über den Film von Mariscal (1923 – 1995)] Alilunas, Peter: »They can’t do this to us!«: Alan Alda as (anti)feminist signifier. In: Camera obscura 26 (2011) 78, S. 35-61. [Über den Schauspieler Alda (geb. 1936) in den 1970er Jahren] Allen, Julie: Tea with Goebbels and Hitler: Asta Nielsen in Nazi Germany. In: Journal of Scandinavian cinema 2 (2012) 3, S. 333-342. [Über die Filmschauspielerin Nielsen (1881 – 1972)] Allen, Julie K.: Where does »die Asta« belong? The role of national identity in Asta Nielsen’s German and Danish reception in the early 1920s. -
Dottorato Di Ricerca in Arti Visive, Performative E Mediali Soviet Cinema in Italy in the Post-War Period
Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN ARTI VISIVE, PERFORMATIVE E MEDIALI Ciclo XXIX Settore Concorsuale di afferenza: 10/C1 Settore Scientifico disciplinare: L-ART/06 SOVIET CINEMA IN ITALY IN THE POST-WAR PERIOD (1950-1970) Presentata da: Liubov Dyshlyuk Coordinatore Dottorato Relatore Daniele Benati Michele Fadda Esame finale anno 2017 Contents Introduction ............................................................................................................. 4 Chapter One The USSR and Europe after World War II 1.1 Foreign policy of the USSR and main European partners: Cold War ............ 16 1.2 France in the Cold War and Franco-Soviet cultural relations ......................... 21 1.3 Britain in the Cold War and British-Soviet cultural collaboration ................. 30 1.4 Italy in the Cold War ....................................................................................... 35 Chapter Two Bilateral USSR-Italy relations after World War II 2.1 PCI and CPSU: the cultural-political developments ....................................... 38 2.2 Communist parties and culture: Association Italia-URSS and its activities ... 45 2.3 Communists and cinema in both Italy and the USSR ..................................... 59 Chapter Three Soviet cinema in Italy 3.1 Previous studies, researches and critique in Italy of the Soviet cinema.......... 72 3.2 Forms of cinematographic collaboration between Italy and the USSR .......... 76 Chapter Four Distribution of Soviet films in Italy 4.2 Soviet cinema through