DOCSLIB.ORG

My Life As a Russian Filmmaker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
My Life As a Russian Filmmaker WOMAN WITH A MOVIE CAMERA CONSTRUCTS The Constructs series examines the ways in which the things we make change both our world and how we understand it. Authors in the series explore the constructive nature of the human artifact and the imagination and reflection that bring it into being. Series Editors H. Randolph Swearer Robert Mugerauer Vivian Sobchack WOMAN with a MOVIE CAMERA Marina Goldovskaya Translated by Antonina W. Bouis Foreword by Robert Rosen University of Texas Press Austin Copyright © 2006 by the university of texas press All rights reserved Printed in the United States of America First edition, 2006 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). Library of Congress Cataloging-in-Publication Data Goldovskaia, Marina Evseevna. [Zhenshchina s kinoapparatom. English] Woman with a movie camera : my life as a Russian filmmaker / Marina Goldovskaya ; translated by Antonina W. Bouis ; foreword by Robert Rosen. — 1st ed. p. cm. — (Constructs) isbn-13: 978-0-292-71464-9 (cloth : alk. paper) isbn-10: 0-292-71464-5 (cloth : alk. paper) isbn-13: 978-0-292-71343-7 (pbk. : alk. paper) isbn-10: 0-292-71343-6 (pbk. : alk. paper) 1. Goldovskaia, Marina Evseevna. 2. Motion picture producers and directors—Soviet Union—Biography. 3. Motion picture producers and directors—Russia (Federation)— Biography. 4. Women motion picture producers and directors—Soviet Union—Biography. 5. Women motion picture producers and directors—Russia (Federation)—Biography. I. Title. II. Series. pn1998.3.g645a3 2006 791.4302'32092—dc22 [b] 2006009472 To my parents THIS PAGE INTENTIONALLY LEFT BLANK Contents Foreword by Robert Rosen ix Acknowledgments xi Introduction 1 Father 15 Childhood 18 Our House 22 Bolshevo 28 Those Times 32 I Will Be a Camerawoman 36 Where to Next? 45 Lessons of Television 51 Teaching 54 The Weavers 58 My First Film Portrait 65 Professional Infatuations 68 Them 73 The Ordeal 83 Compromises 91 Sharp Angles 96 On the Threshold of Change 100 Arkhangelsk Muzhik 107 Oleg Efremov 121 Solovki Power 124 Life Is More Talented Than We Are 157 viii woman with a movie camera Perestroika: Another Life 162 A Taste of Freedom 168 Once More about Scripts 177 Earthquake 180 The House on Arbat Street 183 Life with a Camera 194 Technology and Creativity 198 The Prince 202 On Ethics 213 Life with a Camera (Continued) 216 Documentary Trip 218 Filmography of Marina Goldovskaya 227 Appendix: Notable Figures in Soviet Filmmaking and Other Arts 233 Index 255 Foreword i first met Marina Goldovskaya during the period of perestroika in the Soviet Union when I was part of a delegation of scholars sent to Moscow to negotiate formal cultural relations between our two countries in the field of film studies. Here was a filmmaker whose courageous documentary films on past abuses of power were hailed as nothing less than events of nationwide im- portance. She was a woman who had climbed to the top of her field in a male- dominated television industry, and a film artist who wrote scholarly books em- bodying the much-vaunted but seldom-achieved ideal of uniting theory and practice. And, most of all, I met a gracious, generous, and articulate individual whose commitments and humanistic sensibilities came from the heart. I knew then that I desperately wanted Marina to come to ucla to build our documen- tary program, to teach our students, and especially to serve as a role model for what it means to be an engaged filmmaker. In retrospect I still cannot believe how profoundly lucky we are that this actually came to pass. As a maker of documentary films, Marina embraces a unique mixture of seemingly contradictory characteristics that are in fact complementary. Others may praise her work for different reasons, but, personally, what I admire most is the dialectical tension between a humanistic sensibility that is intensely per- sonal and a critical awareness that is broadly social. In The House on Arbat Street (1993), she manages to capture in their full integrity the beliefs and idio- syncratic personalities of a score of people who had lived in a large Moscow apartment building over a period of more than seventy-five years. But when integrated into the overall context of the film, these separate testimonies add up to a whole that is far greater than the sum of its parts—nothing less than a masterful summary of the history of the Soviet Union from its inception through its demise, with all of the tragic contradictions laid bare. The Prince Is Back (1999) is an intimate and sympathetic portrait of a blindly idealistic dreamer, restoring an abandoned ruin in the hope of reclaiming his prerevo- x woman with a movie camera lutionary family identity. But true to Marina’s dialectical agenda, the personal once again provides a window onto the social, in this instance a period of un- rest and street demonstrations when disquieting uncertainty about the future results in an escapist nostalgia for an irretrievable past. The Shattered Mirror (1992) may be Marina’s most unapologetically personal essay, focusing warmly on many of her dear friends, but what I took away from the film most of all was the vision of a woman with a movie camera braving danger in the streets of Moscow to record and, by her filmmaking, to protect Russia’s fragile hold on newfound political rights. I do not believe it is a coincidence that Marina selected Peter Sellars as the subject of her most recent film—a wildly creative, boundary-breaking theater director for whom artistic, humanistic, and ideo- logical objectives are inextricably intertwined. These same intriguing complexities define Marina as a person as well. Warmly personable, considerate, and exceptionally loyal to her friends, stu- dents, and colleagues, she also displays an iron-willed commitment to honesty and the integrity of her work. Over the years, I have seen her anguish about whether or not a particular shot did justice to the motivations of a person or the complexity of an event. I have witnessed the intensity of her quest for an underlying narrative thread that would tie hundreds of hours of footage into a coherent story, but never at the sacrifice of truth. I am proud to have known Marina Goldovskaya for more than a decade as friend, colleague, mentor, and film artist. A Woman with A Movie Camera will enable you to get to know her too. Her story is one worth telling. Robert Rosen Dean of the ucla School of Theater, Film, and Television Acknowledgments i want to express my deepest gratitude to the people without whom this book would not have been possible. In the first place, to the people who ap- pear in my films. They sparked the ideas for my films, and they inspired me. I cherish the memory of those who are not with us anymore. I am proud that their stories and their images will not be lost to history. I am grateful to my peers with whom I worked for many years: Marina Krutoyarskaya, my closest friend and composer, and her husband, Sasha Zai- tzev; Sasha Hassin, my sound engineer; Tanya Samoilova, my editor; Alex- ander Lipkov, Sergei Muratov, Yuri Bogomolov, Aleksei Gusev, and Masha Muratov; and many, many others. Their advice was always invaluable. I wouldn’t have written this book if not for my students, both in Russia and America. I felt the temperature of their interest when communicating with them, and this interest inspired me greatly. I hope that this book will help some young documentarians understand ‘‘the secrets’’ of our complex profession. My most sincere thanks go to the University of California, Los Angeles, and especially to the ucla School of Theater, Film, and Television, which be- came my home in the United States. Here I found a wonderful community of professors, staff, and students whose nourishing atmosphere gave me strength and support to adjust to completely a new life and work conditions. My very special thanks go to Vivian Sobchack, who believed in my work and supported me all the way through, and to Bob Rosen, Michael Heim, Roberto Peccei, Ivan Berend, and Maja Manojlovic. I will never forget their generous help. I am more than grateful to Nina Bouis. She was not only a brilliant trans- lator but also a wonderful adviser who became a friend for life. And of course my thanks go to my husband, George Herzfeld, for his pa- tience, tolerance, immeasurable help, and endless support. THIS PAGE INTENTIONALLY LEFT BLANK Introduction n September 11, I woke very early, thanks to jet lag. I had returned to Los Angeles from Moscow the night before. I sat down at my desk Oto jot a few notes, as usual. I was in a marvelous mood. Over the summer in Russia I had seen all my friends, spent two weeks in Borovsk, near Kaluga, and had filmed a lot—and I liked what I had filmed. The film was taking shape. Suddenly, my husband shouted from the bedroom, ‘‘Marina, come here! You wanted to hear the Orson Welles broadcast? I think they’re playing it.’’ He had turned on the radio while he did his exercises. Something incred- ible was on the air. I ran into the room and listened. No, it wasn’t Welles...although the sense of horror was probably what people experienced in 1938, when America al- most lost its collective mind, listening to the Mercury Theater’s radio version of H.
Load more

Recommended publications
  • 16/10/2017 LIBRARY Rds 701-800 1 Call Number RD-701 KHEIFITS
    16/10/2017 LIBRARY RDs 701-800 1 Call number RD-701 KHEIFITS, Iosif Edinstvennaia [The Only One] Lenfil´m, Pervoe tvorcheskoe ob´´edinenie, 1975; released 17 March 1976 Screenplay: Pavel Nilin, Iosif Kheifits, from Nilin’s story ‘Dur´’ Photography: Genrikh Marandzhian Production design: Vladimir Svetozarov Music: Nadezhda Simonian Song written by: Vladimir Vysotskii Nikolai Kasatkin Valerii Zolotukhin Taniusha Fesheva Elena Proklova Natasha Liudmila Gladunko Boris Il´ich Vladimir Vysotskii Maniunia Larisa Malevannaia Iura Zhurchenko Viacheslav Nevinnyi Anna Prokof´evna, Nikolai’s mother Liubov´ Sokolova Grigorii Tatarintsev Vladimir Zamanskii Judge Valentina Vladimirova Ivan Gavrilovich Nikolai Dupak Scientist Aleksandr Dem´ianenko Train passenger Svetlana Zhgun Tachkin Mikhail Kokshenov Train passenger Efim Lobanov Wedding guest Petr Lobanov Black marketer Liubov´ Malinovskaia Anna Vil´gel´movna Tat´iana Pel´ttser Member of druzhina Boris Pavlov-Sil´vanskii Tania’s friend Liudmila Staritsyna Serega Gelii Sysoev Lekha Aleksandr Susnin Head Chef of the Uiut restaurant Arkadii Trusov 90 minutes In Russian Source: RTR Planeta, 13 March 2015 System: Pal 16/10/2017 LIBRARY RDs 701-800 2 Call number RD-702 SAKHAROV, Aleksei Chelovek na svoem meste [A Man in His Place] Mosfil´m, Tvorcheskoe ob´´edinenie Iunost´, 1972; released 28 May 1973 Screenplay: Valentin Chernykh Photography: Mikhail Suslov Production design: Boris Blank Music: Iurii Levitin Song lyrics: M. Grigor´ev Semen Bobrov, Chairman of the Bol´shie bobry kolkhoz Vladimir Men´shov
    [Show full text]
  • Glossary Glossary
    Glossary Glossary Albedo A measure of an object’s reflectivity. A pure white reflecting surface has an albedo of 1.0 (100%). A pitch-black, nonreflecting surface has an albedo of 0.0. The Moon is a fairly dark object with a combined albedo of 0.07 (reflecting 7% of the sunlight that falls upon it). The albedo range of the lunar maria is between 0.05 and 0.08. The brighter highlands have an albedo range from 0.09 to 0.15. Anorthosite Rocks rich in the mineral feldspar, making up much of the Moon’s bright highland regions. Aperture The diameter of a telescope’s objective lens or primary mirror. Apogee The point in the Moon’s orbit where it is furthest from the Earth. At apogee, the Moon can reach a maximum distance of 406,700 km from the Earth. Apollo The manned lunar program of the United States. Between July 1969 and December 1972, six Apollo missions landed on the Moon, allowing a total of 12 astronauts to explore its surface. Asteroid A minor planet. A large solid body of rock in orbit around the Sun. Banded crater A crater that displays dusky linear tracts on its inner walls and/or floor. 250 Basalt A dark, fine-grained volcanic rock, low in silicon, with a low viscosity. Basaltic material fills many of the Moon’s major basins, especially on the near side. Glossary Basin A very large circular impact structure (usually comprising multiple concentric rings) that usually displays some degree of flooding with lava. The largest and most conspicuous lava- flooded basins on the Moon are found on the near side, and most are filled to their outer edges with mare basalts.
    [Show full text]
  • By Way of Old Petersburg: Desmond O'grady and Russian Poetry
    VTU Review: Studies in the Humanities and Social Sciences Volume 5 Issue 1 2021 “St. Cyril and St. Methodius” University of Veliko Tarnovo By Way of Old Petersburg: Desmond O’Grady and Russian Poetry Alla Kononova University of Tyumen The article takes on a direction which has great potential for further studies of contemporary Irish poetry: studying the work of Irish poets through their relation to Russian literature. It focuses on the reception and reimagining of Russian poetry in the work of Desmond O’Grady, one of the leading figures in Irish poetry, who started writing in the mid-1950s. The article studies three poems by O’Grady which are ad- dressed to his Russian counterparts: “Missing Andrei Voznesensky,” “Joseph Brodsky Visits Kinsale,” and “My City,” a translation from Anna Akhmatova’s “Poem without a Hero.” None of these poems has yet been subject of thorough critical analysis. Each of the poems has become a signpost on O’Grady’s poetic map and an important element of his own “private mythology.” When analysed in the wider context of Irish poetry, they help form a clearer picture of the influence Russian literature has had on contemporary Irish poets. Keywords: comparative literature, Irish literature, contemporary Irish poetry, Desmond O’Grady, Irish-Russian literary connections, Andrei Voznesensky, Joseph Brodsky, Anna Akhmatova. Desmond O’Grady (1935–2014) is one of the most remarkable figures in Irish poetry of the twentieth and twenty-first centuries. He is sometimes described as a phenomenon “unusual among Irish poets of his generation for both his interest in modernist experimentation and his immersion in the poetry of other cultures” (Mills).
    [Show full text]
  • Swedish Olympic Team TOKYO 2020
    Swedish Olympic Team TOKYO 2020 MEDIA GUIDE - SWEDISH OLYMPIC TEAM, TOKYO 2020 3 MEDIA GUIDE SWEDEN This Booklet, presented and published by the Swedish Olympic Committee is intended to assist members of the media at the Games of the XXXII Olympiad. Information is of July 2021. For late changes in the team, please see www.sok.se. Location In northern Europe, on the east side of the Scandi- navian Peninsula, with coastline on the North and Baltic seas and the Gulf of Bothnia. Neighbours Norway on the East. Mountains along Northwest border cover 25 per cent of Sweden. Flat or rolling terrain covers central and southern areas which includes several large lakes. Official name: Konungariket Sverige (Kingdom of Sweden). Area: 447 435 km2 (173 732 sq. miles). Rank in the world: 57. Population: 10 099 265 Capital: Stockholm Form of government: Constitutional monarchy and parliamentary state with one legislative house (Parlia- ment with 349 seats). Current constitution in force since January 1st, 1975. Chief of state: King Carl XVI Gustaf, since 1973. Head of government: Prime Minister Stefan Löfven, since 2014. Official language: Swedish. Monetary unit: 1 Swedish krona (SEK) = 100 öre. MEDIA GUIDE - SWEDISH OLYMPIC TEAM, TOKYO 2020 4 ANSVARIG UTGIVARE Lars Markusson, + 46 (0) 70 568 90 31, [email protected] ADRESS Sveriges Olympiska Kommitté, Olympiastadion, Sofiatornet, 114 33 Stockholm TEL 08-402 68 00 www.sok.se LAYOUT Linda Sandgren, SOK TRYCK Elanders MEDIA GUIDE - SWEDISH OLYMPIC TEAM, TOKYO 2020 5 CONTENT SWEDISH OLYMPIC COMMITTEE 6 INTERNATIONAL OLYMPIC MOVEMENT 8 SWEDEN AND THE OLYMPIC GAMES 9 SWEDISH MEDALLISTS 10 CDM:S AND FLAG BEARERS 24 SWEDEN AT PREVIOUS OLYMPIC GAMES 25 OLYMPIC VENUES 26 COMPETITION SCHEDULE 28 SWEDISH OLYMPIC TEAM 32 SWEDISH MEDIA 71 MEDIA GUIDE - SWEDISH OLYMPIC TEAM, TOKYO 2020 6 SWEDISH OLYMPIC COMMITTEE Executive board The executive board, implementing the SOC pro- gramme, meets 8-10 times a year.
    [Show full text]
  • 43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
    43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine.
    [Show full text]
  • SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
    SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production.
    [Show full text]
  • My Children, Teaching, and Nimrod the Word
    XIV Passions: My Children, Teaching, and Nimrod The word passion has most often been associated with strong sexual desire or lust. I have felt a good deal of that kind of passion in my life but I prefer not to speak of it at this moment. Instead, it is the appetite for life in a broader sense that seems to have driven most of my actions. Moreover, the former craving is focused on an individual (unless the sexual drive is indiscriminant) and depends upon that individual for a response in order to intensify or even maintain. Fixating on my first husband—sticking to him no matter what his response, not being able to say goodbye to him —almost killed me. I had to shift the focus of my sexual passion to another and another and another in order to receive the spark that would rekindle and sustain me. That could have been dangerous; I was lucky. But with the urge to create, the intense passion to “make something,” there was always another outlet, another fulfillment just within reach. My children, teaching, and Nimrod, the journal I edited for so many years, eased my hunger, provided a way to participate and delight in something always changing and growing. from The passion to give birth to and grow with my children has, I believe, been expressed in previous chapters. I loved every aspect of having children conception, to the four births, three of which I watched in a carefully placed mirror at the foot of the hospital delivery room bed: May 6, 1957, birth of Leslie Ringold; November 8, 1959, birth of John Ringold; August 2, 1961: birth of Jim Ringold; July 27, 1964: birth of Suzanne Ringold (Harman).
    [Show full text]
  • July-Dec 2020 Bibliography
    Readers are encouraged to forward items which have thus far escaped listing to: Christine Worobec Distinguished Research Professor Emerita Department of History Northern Illinois University [email protected] Please note that this issue has a separate category for the "Ancient, Medieval, and Early Modern Periods." It follows the heading "General." All categories listed by Country or Region include items from the modern and contemporary periods (from approximately 1700 to the present). GENERAL Agapkina, Tatiana, and Andrei Toporkov. "The Structure and Genesis of One Type of Magic Spell against Children's Insomnia among Slavic Peoples." In: Folklore 80 (2020): 35-46. Anderson, Elinor. "Women, Power and Enlightenment in Eighteenth-Century Europe." In: Central Europe Yearbook 2 (2020): 3-18. Araz, Yahya, and Irfan Kokdaş. "In Between Market and Charity: Child Domestic Work and Changing Labor Relations in Nineteenth-Century Ottoman Istanbul." In: International Labor and Working Class History 97 (Spring 2020): 81-108. Bento, Regina F. "The Rose and the Cactus: The Lived and Unanswered Callings of Manya Sklodowska (Marie Curie) and Mileva Marić (Einstein)." In: Cultural Studies/Critical Methodologies 20, 6 (2020): 549-64. [About the Polish Marie Curie (1867-1934) and the Serbian Mileva Marić (1875-1948)] Bertogg, Ariane [et al.]. "Gender Discrimination in the Hiring of Skilled Professionals in Two Male-Dominated Occupational Fields: A Factorial Survey." In: Kölner Zeitschrift für Soziologie und Sozialpsychologie 72, supp. 1 (2020): 261-89. [Regarding Bulgaria, Greece, Norway, and Switzerland] Bucur, Maria, Krassimira Daskalova, and Sally R. Munt. "East European Feminisms." Special Issue of Feminist Encounters: A Journal of Critical Studies in Culture and Politics 4, 2 (2020).
    [Show full text]
  • Contemporary Ukrainian Cinema Into the European Context (2014-2019)
    How to Cite: Alforova, Z., Marchenko, S., Shevchuk, Y., Kotlyar, S., & Honcharuk, S. (2021). Contemporary Ukrainian cinema into the European context (2014-2019). Linguistics and Culture Review, 5(S2), 274-283. https://doi.org/10.37028/lingcure.v5nS2.1345 Contemporary Ukrainian Cinema into the European Context (2014-2019) Zoya Alforova Kharkiv State Academy of Culture, Kharkiv, Ukraine Serhii Marchenko Kyiv National I.K. Karpenko-Kary Theatre, Cinema and Television University, Kyiv, Ukraine Yuliia Shevchuk Kyiv National University of Culture and Arts, Kyiv, Ukraine Svitlana Kotlyar Kyiv National University of Culture and Arts, Kyiv, Ukraine Serhii Honcharuk Kyiv National University of Culture and Arts, Kyiv, Ukraine Abstract---The relevance of the study is conditioned by the fact that the development of Ukrainian art, including cinema, is becoming more popular every year. Since 2014, the Ukrainian film industry has been rapidly developing, and has also shown good results at European and other international film festivals. The purpose of the study is to analyses the position of Ukrainian cinema in the recent historical period, as well as to analyses the preconditions that were created for its development and introduction to the European cinema market. The methodological basis of this study is the combination of theoretical methods of cognition. Methods of data analysis and synthesis, dialectical method, historical and periodization method are used. In the course of writing this paper, the studies of Ukrainian and foreign researchers regarding the subject were studied and analyzed. The establishment and current state of the film industry are investigated. The preconditions for the development of Ukrainian cinema as well as factors that influenced its entrance to the European market are considered.
    [Show full text]
  • October 30, 2012 (XXV:9) Elim Klimov, COME and SEE/Иди И Смотри (1985, 136 Min)
    October 30, 2012 (XXV:9) Elim Klimov, COME AND SEE/Иди и смотри (1985, 136 min) Directed by Elem Klimov Written by Ales Adamovich and Elem Klimov Original Music by Oleg Yanchenko Cinematography by Aleksei Rodionov Film Editing by Valeriya Belova Production Design by Viktor Petrov Art Direction by Viktor Petrov Set Decoration by Viktor Petrov P. Gutenko…military advisor Aleksey Kravchenko…Florya Gaishun Olga Mironova…Glasha Liubomiras Lautsyavichius …Kosach Vladas Bagdonas Jüri Lumiste Viktor Lorents Kazimir Rabetsky Yevgeni Tilicheyev Aleksandr Berda vracha, 1964 Welcome, or No Trespassing, 1962 Smotrite, nebo!, G. Velts 1960 Zhenikh, and 1959 Ostorozhno: poshlost. V. Vasilyev Igor Gnevashev ALEKSEI RODIONOV (April 26, 1947, Moscow, Soviet Union) has 23 Vasili Domrachyov cinematographer credits: 2011 Generation P, 2008 Admiral, 2004/I G. Yelkin Yes, 2002 Letniy dozhd, 2002 Where Eskimos Live, 2000 24 Hours, Ye. Kryzhanovsky 2000 Eisenstein, 2000/I “Cinderella”, 1998 Talk of Angels, 1997 N. Lisichenok Passion in the Desert, 1995-1996 “Red Shoe Diaries”, 1995 Viktor Manaev Musulmanin, 1993 Ya khotela uvidet angelov, 1992 Orlando, 1989 Takhir Matyullin Zhena kerosinshchika, 1987 Shura i Prosvirnyak, 1986 My vesely, Pyotr Merkurev schastlivy, talantlivy!, 1985 Come and See (as A. Rodionov), 1985 Valentin Mishatkin “Vstrecha pered razlukoy”, 1985 “Protivostoyanie”, 1983 Sredi G. Matytsky serykh kamney, 1983 Proshchanie,, and 1970 Moya sudba. Yevgeniya Polyakova Anatoli Slivnikov Georgi Strokov ALEKSEY KRAVCHENKO… Florya Gaishun (Aleksei Yevgenyevich
    [Show full text]
  • A Turbulent Year for Ukraine Urbulent Was the Way to Describe 2009 for Ukraine, Which Plunged Into Financial Crisis
    No. 3 THE UKRAINIAN WEEKLY SUNDAY, JANUARY 17, 2010 5 2009: THE YEAR IN REVIEW A turbulent year for Ukraine urbulent was the way to describe 2009 for Ukraine, which plunged into financial crisis. No other European country suffered as much as TUkraine, whose currency was devalued by more than 60 percent since its peak of 4.95 hrv per $1 in August 2008. In addition, the country’s industrial production fell by 31 percent in 2009. Prime Minister Yulia Tymoshenko con- fronted the challenge of minimizing the crisis fallout, while at the same time campaigning for the 2010 presi- dential elections. Her critics attacked her for pursuing populist policies, such as increasing wages and hiring more government staff, when the state treasury was broke as early as the spring. Ms. Tymoshenko herself admitted that her gov- ernment would not have been able to make all its pay- ments without the help of three tranches of loans, worth approximately $10.6 billion, provided by the International Monetary Fund. Her critics believe that instead of borrowing money, Ms. Tymoshenko should have been introducing radical reforms to the Ukrainian economy, reducing government waste, eliminating out- dated Soviet-era benefits and trimming the bureaucracy. The year began with what is becoming an annual tra- Offi cial Website of Ukraine’s President dition in Ukraine – a natural gas conflict provoked by the government of Russian Federation Prime Minister President Viktor Yushchenko and Prime Minister Yulia Tymoshenko at the heated February 10 meeting of Vladimir Putin. Whereas the New Year’s Day crisis of the National Security and Defense Council.
    [Show full text]
  • Weinberg CV [Pdf]
    ROBERT WEINBERG Isaac H. Clothier Professor of History and International Relations Department of History 500 College Avenue Swarthmore College Swarthmore, Pennsylvania 19081-l397 Office (610) 328-8133 Cell (610) 308-3816 [email protected] Explore a Collection of Soviet Posters From the 1920s and 1930s Housed at Swarthmore College Watch a Video of Boney-M Performing “Rasputin, Russia’s Greatest Love Machine” ACADEMIC DEGREES Ph.D. in History: University of California, Berkeley (1985) M.A. in History: Indiana University (1978) B.S. in Industrial and Labor Relations: Cornell University (1976) ACADEMIC EMPLOYMENT Swarthmore College. Assistant Professor: 1988-1994 Associate Professor: 1994-2002 Professor: 2002-Present 1 Department Chair: 1996-2000, 2008-2009, 2011- 2012, 2015-2016, 2019-2022 BOOKS The Four Questions: Jews Under Tsars and Communists (In progress for Bloomsbury Press) Estimated date of completion: Summer 2022 Ritual Murder in Late Imperial Russia: The Trial of Mendel Beilis (Indiana University Press, 2013) Published in Russian as Kровавый навет в последние дни Российской Империи: процесс над Менделем Бейлисом по обвинению в ритуальном убийстве (Academic Studies Press, 2019). Interview with Professor Joan Neuberger (University of Texas, Austin) about Mendel Beilis and the Blood Libel Revolutionary Russia: A History in Documents (Oxford University Press, 2010). Joint authorship with Laurie Bernstein 2 Stalin’s Forgotten Zion: Birobidzhan and the Making of a Soviet Jewish Homeland (University of California Press, 1998). Published in French as Le Birobidjan, 1928-1996 (Paris: Edition Autrement, 2000) and German as Birobidshan: Stalins vergessenes Zion (Frankfurt: Verlag Neue Kritik, 2003). Also served as curator for traveling exhibition about the history of Birobidzhan.
    [Show full text]