DOCSLIB.ORG

The Films of Aleksei Balabanov , the First

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Films of Aleksei Balabanov , the First BAMcinématek presents Of Freaks and Men: The Films of Aleksei Balabanov, the first US retrospective of the late Russian filmmaker, Dec 3—10 Part of 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 The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Nov 8, 2013—From Tuesday, December 3 through Tuesday, December 10, BAMcinématek presents Of Freaks and Men: The Films of Aleksei Balabanov, the first complete US retrospective of the acclaimed Russian filmmaker. Arguably the most radical, defiantly uncompromising Russian director to emerge since the collapse of communism, Aleksei Balabanov, who died suddenly this year at age 54, captured the Wild West atmosphere of the post-Soviet era in movies that oozed with caustic irony, macabre humor, and outré violence. Moving between offbeat experimental works and more mainstream, but equally personal, genre films, Balabanov—already a cult sensation in Russia—is ripe for discovery. Of Freaks and Men is 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. Opening the series on December 3 Balabanov’s first two features: his narrative debut Happy Days (1991—Dec 3), a reimagining of the Samuel Beckett play, and The Castle (1994—Dec 3), an adaptation of Kafka’s unfinished novel. An official selection of Un Certain Regard at Cannes, Happy Days follows a man through a string of surreal encounters after his release from the hospital, all in striking black and white cinematography by frequent Balabanov collaborator Sergey Astakhov. Balabanov’s sophomore feature, The Castle further revealed his interest in absurdism with a bizarre, inventive interpretation of Kafka’s parable of existentialism and bureaucracy. Screening Wednesday, December 4 is Of Freaks and Men (1998—Dec 4 + 5), Balabanov’s dark comedy about the invasion of pornography in early-1900s St. Petersburg. Hailed as “a witty, inventive exercise of historical imagination and cinematic style” (Stephen Holden, The New York Times), the film garnered two Nika Awards (Russia’s Oscar) for Best Film and Best Director. Happy Days, The Castle, and Of Freaks and Men have never been released on video in the US and will be presented in rare 35mm screenings for this series. In 1997, Balabanov’s Brother (Dec 7) became his first breakout hit and an instant commercial success in Russia. Drawing comparisons to Martin Scorsese’s Goodfellas and the James Bond franchise, the film exposes the crime rings, poverty, and rebellious youth of the post-Soviet era with grimy detail and Balabanov’s signature caustic satire. Brother became Russia’s highest grossing film that year, managing to be “both commercial and a comment on commercialism…not only a highly entertaining genre film but a political statement as well—imagining, even as it warns against, the strong man’s return” (J. Hoberman). Brother spawned Brother 2 (2000—Dec 7), a defiantly nationalistic sequel set in Chicago, and cemented Balabanov’s powerful voice in the Russian New Wave. The self-proclaimed “anti-establishment rock’n’roller of Russian film” became known for his unflinching perspective of corruption in his post-Soviet homeland, through both dark comedies and grisly crime dramas. Highlights of Balabanov’s work in the 2000s include Dead Man’s Bluff (2005—Dec 6), a blood- soaked action comedy with Tarantino-esque wit; Cargo 200 (2007—Dec 6), a nightmarish thriller based on a true story; Morphia (2008—Dec 5), a “deliciously funny and graphically gory take on Mikhail Bulgakov’s Notes of a Young Doctor” (David Jenkins, Time Out NY); and The Stoker (2010—Dec 8), a nihilistic comedy set to a bossa nova soundtrack. Balabanov’s final film, Me Too (2012—Dec 8), made its US premiere in BAMcinématek’s Russian Cinema Now series in June. A comedic, Kaurismäki-esque take on Tarkovsky’s tour-de-force sci-fi epic Stalker (1979), the film is a “disarmingly deadpan and deceptively ambitious blend of black comedy, crime, and metaphysics” (Neil Young, The Hollywood Reporter)—synthesizing in one film the many things that Balabanov did best. Press screenings to be announced. For press information, please contact Lisa Thomas at 718.724.8023 / [email protected] Hannah Thomas at 718.724.8002 / [email protected] Film Schedule Tue, Dec 3 4:30, 9:30pm: Happy Days 7pm: The Castle Wed, Dec 4 4:30pm: Of Freaks and Men Thu, Dec 5 4:30, 9:30pm: Morphia 7pm: Of Freaks and Men Fri, Dec 6 2, 7pm: Dead Man’s Bluff 4:30, 9:30pm: Cargo 200 Sat, Dec 7 2, 7pm: Brother 4:30, 9:30pm: Brother 2 Sun, Dec 8 2pm: Trofim + The River 4, 8:30pm: Me Too 6pm: The Stoker Mon, Dec 9 4:30pm: Trofim + The River Tue, Dec 10 4:30, 9:30pm: It Doesn’t Hurt Me 7pm: War Film Descriptions Brother (1997) 99min With Sergey Bodrov Jr. After being released from the army, music-obsessed Danila (Bodrov Jr.) heads to St. Petersburg in search of his older brother, who swiftly inducts him into a violent criminal underworld. Taking to his new job as a hit man like a duck to water, Danila is part thug, part avenging angel—a criminal with a half- formed conscience who lives by his own primitive code of ethics. Balabanov’s “terrifically stylish” (The New York Times) breakout commercial hit was an enormous success in Russia, capturing the sick soul of post-Soviet youth in grimy detail. 35mm. Sat, Dec 7 at 2, 7pm Brother 2 (2000) 122min With Sergey Bodrov Jr. Balabanov cranked the action up to 11 for this adrenaline-fueled, bathed-in-blood sequel to his mega hit Brother. This time around, baby-faced, armed-to-the-teeth hit man Danila (Bodrov Jr.) heads to Chicago to avenge the death of an old army buddy knocked off by mobsters. Defiantly nationalistic and caustically anti-Western, Brother 2 is the radical Russian New Wave answer to the Hollywood blockbuster. 35mm. Sat, Dec 7 at 4:30, 9:30pm Cargo 200 (2007) 89min With Agniya Kuznetsova, Alexey Poluyan. Like The Texas Chain Saw Massacre transposed to 1980s USSR, Balabanov’s Rotterdam Film Festival prize-winning ultra-nightmare Cargo 200—based, chillingly, on a real incident—is a grim, sickly funny horror-show commentary on the Soviet era. In the gloomy industrial wasteland of Leninsk, a motley group of strangers stumble upon a remote bootlegger’s cabin. What ensues is an utterly horrifying display of depravity perpetrated by a sadistic police captain (Poluyan). Strong, and completely riveting stuff. 35mm. Fri, Dec 6 at 4:30, 9:30pm The Castle (1994) 120min With Nikolay Stotskiy, Svetlana Pismichenko, and Viktor Sukhorukov. Balabanov offers this characteristically eccentric take on Kafka’s unfinished novel, which tells the absurdist allegory of a land surveyor (Stotskiy) who attempts to infiltrate the seemingly impregnable, highly bureaucratic castle that exerts a palpable influence on his everyday existence. The director’s second feature is a swirl of surrealistic imagery with a distinctly Bruegel-influenced aesthetic, featuring a score by the pioneering experimental cult musician Sergey Kuryokhin. 35mm. Tue, Dec 3 at 7pm Dead Man’s Bluff (2005) 111min With Alexei Panin, Dmitry Dyuzhev. Balabanov reportedly spilled 50 liters of fake blood for this action comedy joyride about two hoodlum brothers (Panin and Dyuzhev) scrambling to recover a suitcase full of heroine. Set in the gritty mean streets of the lawless 1990s, Dead Man’s Bluff is a giddy Tarantino-esque mix of splatter and snappy dialogue, featuring ingenious cameos by more than 20 Russian movie stars—all incognito! 35mm. Fri, Dec 6 at 2, 7pm Happy Days (1991) 86min With Viktor Sukhorukov. Shot in grainy, expressive black and white, Balabanov’s striking narrative debut is a freewheeling, disorienting head-trip adaptation of Samuel Beckett’s absurdist stage work. Just released from the hospital where he received a mysterious brain operation, an unidentified man (Sukhorukov) roams the streets of St. Petersburg in search of a place to stay, encountering a panoply of hostile weirdos and bizarre situations along the way. 35mm. Tue, Dec 3 at 4:30, 9:30pm It Doesn’t Hurt Me (2006) 101min With Renata Litvinova, Aleksandr Yatsenko. After establishing a reputation for gonzo gangster thrillers, Balabanov took a surprising detour into romantic drama with this poignant, offbeat character study about a young building developer (Yatsenko) and an eccentric woman who is dying of leukemia (Litvinova)—and trying to conceal it. Set amid the tumult of 1990s St. Petersburg, It Doesn’t Hurt Me reveals Balabanov’s gentler, but no less idiosyncratic, side. 35mm. Tue, Dec 10 at 4:30, 9:30pm Me Too (2012) 83min With Yurii Matveev, Alexander Mosin, Oleg Garkusha, Alisa Shitikova Tarkovsky meets Kaurismäki in this dark, deadpan riff on the revered filmmaker’s 1979 sci-fi film Stalker. A ragtag gaggle of thugs, punk rockers, and societal outcasts embark on a pilgrimage to a mystical “Bell Tower of Happiness” in search of enlightenment. “As intoxicatingly uncompromised and bracingly direct as a treble of straight Stolichnaya..." (The Hollywood Reporter). DCP. Sun, Dec 8 at 4, 8:30pm Morphia (2008) 110min With Leonid Bichevin, Ingeborga Dapkūnaitė. In 1917, young medic Mikhail (Bichevin) arrives at a remote rural village to begin his practice—but quickly succumbs to a crippling morphine addiction, as the Bolshevik Revolution rages on in the background. Based on Mikhail Bulgakov’s short story collection A Country Doctor's Notebook, Morphia is Balabanov’s hellish, savagely funny vision of societal and personal breakdown rendered in remarkable period detail.
Load more

Recommended publications
  • Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)
    Journal of Religion & Film Volume 24 Issue 2 October 2020 Article 1 October 2020 Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Maria Hristova Lewis and Clark College, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Part of the Christianity Commons, European Languages and Societies Commons, and the Other Film and Media Studies Commons Recommended Citation Hristova, Maria (2020) "Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)," Journal of Religion & Film: Vol. 24 : Iss. 2 , Article 1. DOI: 10.32873/uno.dc.jrf.24.2.001 Available at: https://digitalcommons.unomaha.edu/jrf/vol24/iss2/1 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Abstract This article engages in close analysis of how Andrey Zvyagintsev depicts corruption and its various manifestations: moral, familial, societal, and institutional, in Leviathan (Leviafan, 2014). While other post- Soviet films address the problem of prevalent corruption in Russia, Zvyagintsev’s work is the first ot provoke strong public reactions, not only from government and Russian Orthodox Church officials, but also from Orthodox and political activist groups. The film demonstrates that the instances of legal and moral failings in one aspect of existence are a sign of a much deeper and wider-ranging problem that affects all other spheres of human experience.
    [Show full text]
  • Connections Between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M
    Communication and Theater Association of Minnesota Journal Volume 36 Article 2 January 2009 "Brother," Enjoy Your Hypermodernity! Connections between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M. Brandon Hillsdale College, [email protected] Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Film and Media Studies Commons, and the Soviet and Post-Soviet Studies Commons Recommended Citation Brandon, J. (2009). "Brother," Enjoy Your Hypermodernity! Connections between Gilles Lipovetsky's Hypermodern Times and Post- Soviet Russian Cinema. Communication and Theater Association of Minnesota Journal, 36, 7-22. This General Interest is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Brandon: "Brother," Enjoy Your Hypermodernity! Connections between Gilles CTAMJ Summer 2009 7 “Brother,” Enjoy your Hypermodernity! Connections between Gilles Lipovetsky’s Hypermodern Times and Post-Soviet Russian Cinema James M. Brandon Associate Professor [email protected] Department of Theatre and Speech Hillsdale College Hillsdale, MI ABSTRACT In prominent French social philosopher Gilles Lipovetsky’s Hypermodern Times (2005), the author asserts that the world has entered the period of hypermodernity, a time where the primary concepts of modernity are taken to their extreme conclusions. The conditions Lipovetsky described were already manifesting in a number of post-Soviet Russian films. In the tradition of Slavoj Zizek’s Enjoy Your Symptom (1992), this essay utilizes a number of post-Soviet Russian films to explicate Lipovetsky’s philosophy, while also using Lipovetsky’s ideas to explicate the films.
    [Show full text]
  • Cultural Heritage, Cinema, and Identity by Kiun H
    Title Page Framing, Walking, and Reimagining Landscapes in a Post-Soviet St. Petersburg: Cultural Heritage, Cinema, and Identity by Kiun Hwang Undergraduate degree, Yonsei University, 2005 Master degree, Yonsei University, 2008 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kiun Hwang It was defended on November 8, 2019 and approved by David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Mrinalini Rajagopalan, Associate Professor, University of Pittsburgh, Department of History of Art & Architecture Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Dissertation Advisor: Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Kiun Hwang 2019 Abstract iii Framing, Walking, and Reimagining Landscapes in a Post-Soviet St. Petersburg: Cultural Heritage, Cinema, and Identity Kiun Hwang, PhD University of Pittsburgh, 2019 St. Petersburg’s image and identity have long been determined by its geographical location and socio-cultural foreignness. But St. Petersburg’s three centuries have matured its material authenticity, recognizable tableaux and unique urban narratives, chiefly the Petersburg Text. The three of these, intertwined in their formation and development, created a distinctive place-identity. The aura arising from this distinctiveness functioned as a marketable code not only for St. Petersburg’s heritage industry, but also for a future-oriented engagement with post-Soviet hypercapitalism. Reflecting on both up-to-date scholarship and the actual cityscapes themselves, my dissertation will focus on the imaginative landscapes in the historic center of St.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Tales of Russianness: Post-Soviet identity formation in popular film and television Souch, I.S. Publication date 2015 Document Version Final published version Link to publication Citation for published version (APA): Souch, I. S. (2015). Tales of Russianness: Post-Soviet identity formation in popular film and television. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:29 Sep 2021 TALES OF RUSSIANNESS POST-SOVIET IDENTITY FORMATION IN POPULAR FILM AND TELEVISION IRINA SOUCH UNIVERSITY OF AMSTERDAM 2015 Tales of Russianness: Post-Soviet Identity Formation in Popular Film and Television ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr.
    [Show full text]
  • Self/Other Representations in Aleksei Balabanov's 'Zeitgeist Movies'
    SELF/OTHER REPRESENTATIONS IN ALEKSEI BALABANOV‟S „ZEITGEIST MOVIES‟: FILM GENRE, GENRE FILM AND INTERTEXTUALITY Florian Weinhold School of Languages, Linguistics and Cultures A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 2 Contents ABSTRACT……………….……………………………..….............…............... 6 DECLARATION………………………………………………….......................7 COPYRIGHT STATEMENT.....……………………………………................. 7 THE AUTHOR...………………………………………………….......................8 ACKNOWLEDGEMENTS…………………………..………....…................... .9 Chapter 1: Introduction..............................………………………......……........11 1.1 Background, Rationale, Aim and Structure of the Introduction…………. 11 1.2 Why Balabanov?…………………………………..…….…….................. 13 1.3 Why Balabanov‟s „Genre Films‟?………………………..………............ 16 1.4 Balabanov‟s Genre Films in Russian and Western Criticism..................... 19 1.5 Contributions of the Study......................………………………………… 28 1.6 Aim, Objectives and Research Questions of the Thesis..............…........... 29 1.7 Primary Sources………….......................................................................... 31 1.8 Structure of the Thesis................................................................................ 32 Chapter 2: Methodology.......................................................................................35 2.1 Introduction...........................………………….......................................... 35 2.2 Why Genre?……………………………………...................……............
    [Show full text]
  • Feature Films
    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
    [Show full text]
  • Murlafortesmontse Treball.Pdf 2.123 Mb
    Índex Nota .................................................................................................................................................. 2 Agraïments ....................................................................................................................................... 2 Introducció ....................................................................................................................................... 2 L’arribada de la Perestroika ............................................................................................................. 3 Els joves com a agents socials ......................................................................................................... 6 Moviments culturals renovats i joves a la URSS ............................................................................. 9 L’era post-soviètica ........................................................................................................................ 19 El nou cinema per a la nova Rússia ............................................................................................... 21 Aleksei Balabanov, director ........................................................................................................... 25 Ressorgiment del cinema negre ..................................................................................................... 31 “Brother”: més que gàngster, nou heroi rus ................................................................................... 33 “Brother 2”,
    [Show full text]
  • Time Unfrozen
    Change of Focus—1 tony wood TIME UNFROZEN The Films of Aleksei German his is my declaration of love for the people I grew up ‘ with as a child’, says a voice at the beginning of Aleksei TGerman’s Moi drug Ivan Lapshin (My Friend Ivan Lapshin). There is a pause as the narrator struggles for the right words to express his feelings for the Soviet Union of the thirties; when they come—ob”iasnenie v liubvi—it is with a strained emphasis on ‘love’. The fi lm, released in 1984, is set in 1935 in the fi ctional provincial town of Unchansk, where a young boy and his father share a communal fl at with criminal police investigator Ivan Lapshin and half a dozen others. It weaves together elements from the director’s father Iurii German’s detective stories and novellas of the same period: a troupe of actors arrive to play at the town’s theatre; Lapshin tracks down a gang of crimi- nals trading in human meat; a friend of Lapshin’s, Khanin, becomes unhinged after his wife dies of typhus; the spirited actress Adashova falls in love with Khanin, and Lapshin with Adashova. The authorities are largely absent: it is a fi lm about people ‘building socialism’ on a bleak frozen plain, their town’s one street a long straggle of low wooden build- ings beneath a huge white sky, leading from the elegant stucco square by the river’s quayside out into wilderness. There is a single tram, a military band, a plywood ‘victory arch’ of which they are all proud—‘My father’, the narrator recounts, ‘would never take a short cut across the town’: he always went the long way round, under the victory arch.
    [Show full text]
  • S Cargo 200 (Gruz 200, 2007) VOL
    REVIEW Guilt of the Public Aleksei Balabanov’s Cargo 200 (Gruz 200, 2007) VOL. 6 (JUNE 2011) BY KONSTANTY KUZMA Aleksei Balabanov’s Brother from 1997 is widely considered the first post-modern Russian film from the new generation of Russian filmmakers. It tells the romanticised, mildly patriotic story of a young man full of idealism who comes to St. Petersburg to find his brother, and leaves the city broken by reality. Brother clearly hit the nail on the head when it comes to the atmosphere of Russia in the late 1990s. In spite of its unripe style, the film vividly illustrates the fate of a young man trying to survive in a world with no rules, making it a major success in the domestic box-office. Backed by the popularity of the film both in and outside of Russia, Aleksey Balabanov has since directed 8 features that are often set in the colorful Russian crime world – among them a sequel to Brother. Although it is also a crime that lies at the heart of Cargo 200, this film is set far from the urban mafia world of Russia, and based on real events… In Cargo 200, a mentally disordered Soviet police man (played by Aleksei Poluyan) kidnaps a young woman and brings her to his flat where he rapes and humiliates her. The film opens with a dialogue between two brothers, a Colonel and a university professor, who discuss their lives – an inconspicuous conversation about family, work and politics (it is typical for Balabanov to start with such an unrelated event).
    [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]
  • Fog of Falsehood: Russian Strategy of Deception and the Conflict in Ukraine
    FIIA REPORT 45 Fog of Falsehood Russian Strategy of Deception and the Conflict in Ukraine Katri Pynnöniemi & András Rácz (eds.) FIIA REPORT 45 Fog of Falsehood Russian Strategy of Deception and the Conflict in Ukraine Fog of Falsehood Russian Strategy of Deception and the Conflict in Ukraine Katri Pynnöniemi & András Rácz (eds.) ULKOPOLIITTINEN INSTITUUTTI UTRIKESPOLITISKA INSTITUTET THE FINNISH INSTITUTE OF INTERNATIONAL AFFAIRS FIIA rePort 45 Reports can be ordered from the Finnish Institute of International Affairs. +358 9 432 7707 [email protected] All FIIA reports and other publications are also available on our website at www.fiia.fi. Language editing: Anna Sinkkonen (chapters 1-4), Aakkosto Oy (chapters 5-14) Graphic design: Nordenswan & Siirilä Oy / Tuomas Kortteinen Layout: Kaarina Tammisto Printed by Grano Oy, 2016 The Finnish Institute of International Affairs Ulkopoliittinen instituutti PL 400 00161 Helsinki Finland www.fiia.fi ISBN 978-951-769-485-8 (print) ISBN 978-951-769-486-5 (web) ISSN 2323-5454 The Finnish Institute of International Affairs is an independent research institute that produces high-level research to support political decision-making and public debate both nationally and internationally. All manuscripts are reviewed by at least two other experts in the field to ensure the high quality of the publications. In addition, publications undergo professional language checking and editing. The responsibility for the views expressed ultimately rests with the authors. Acknowledgements The research process for this report started in early summer of 2014 in the form of informal discussion on how to better understand Russia’s strategic communication concerning the conflict in Ukraine.
    [Show full text]
  • Post-Soviet Russian Cinema Vladimir Padunov Spring Semester 2018 427 CL Wednesdays 6:00—9:25 624-5713 CL 306 E-Mail: [email protected]
    University of Pittsburgh Department of Slavic Languages and Literatures Russian 0871 / 2464: Post-Soviet Russian Cinema Vladimir Padunov Spring Semester 2018 427 CL Wednesdays 6:00—9:25 624-5713 CL 306 e-mail: [email protected] Office Hours: Mondays 1:00—2:00, Tuesdays 11:00—12:00; Fridays 12:00―1:00, and by appointment I. REQUIRED TEXTS: Condee, Nancy. The Imperial Trace: Recent Russian Cinema. NY: Oxford UP, 2009. Articles and reviews will be sent to students as pdf files II. INVALUABLE RESEARCH RESOURCES: While the hardcopy of the seven-volume encyclopedia—Arkus, Liubov', ed. Noveishaia istoriia otechestvennogo kino, 1986-2000. Kinoslovar'. 3 vol. St. Petersburg: Seans, 2001; and Kino i kontekst. 4 vol. St. Petersburg: Seans, 2002-2005—covers only the period 1986-2000, the web site established by Seans (http://www.russiancinema.ru) provides an exhaustive database on individuals and topics through the entire history of Russo-Soviet cinema. While research can never be limited to this site, it provides an excellent point of departure. All of the films screened (both in class and outside) have been reviewed in the English language quarterly online journal http://www.kinokultura.com. In addition, extensive program notes for most of the films can be found on the site of the Russian Film Symposium (http://www.rusfilm.pitt.edu/films-shown-1999-2014/). III. READING, VIEWING, and DISCUSSION ASSIGNMENTS The Schedule of Assignments provides an itemization of reading and viewing assignments for the entire semester. All reading and viewing assignments must be completed prior to the next scheduled meeting of the course.
    [Show full text]