DOCSLIB.ORG

Students on the Cold War

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Students on the Cold War STUDENTS ON THE COLD WAR New findings and interpretations Edited by Csaba Békés and Melinda Kalmár STUDENTS ON THE COLD WAR New findings and interpretations Edited by Csaba Békés and Melinda Kalmár Cold War History Research Center – Corvinus University of Budapest Budapest, 2019 Szerkesztette: Dévényi Kinga Szerzők: Csicsmann László (Bevezető) Dévényi Kinga (Iszlám) Farkas Mária Ildikó (Japán) Lehoczki Bernadett (Latin-Amerika) Matura Tamás (Kína) Renner Zsuzsanna (India) Sz. Bíró Zoltán (Oroszország) Szombathy Zoltán (Afrika) Zsinka László (Nyugat-Európa, Észak-Amerika) Zsom Dóra (Judaizmus) Térképek: Varga Ágnes Tördelés:Editors Jeney László Csaba BÉKÉS and Melinda KALMÁR A kötetben szereplő domborzati térképek a Maps Assistant editors for Free (https://maps-for-free.com/) szabad Laura Chiara CECCHI, Jennifer LOY, Lucia PERESZLÉNYI,felhasználású Valeria PUGA, térképek, a többi térkép az ArcGIS for Tsotne TCHANTURIA, Márton TŐKE Desktop 10.0 szoftverben elérhető Shaded Relief alaptérkép felhasználásával készültek. Editorial assistance Dionysios DRAGONAS, Joelle ERICKSON, Laura GOUSHA, Illaria LA TORRE, James MARINO,Lektor: Evangeline MOORE, StefanRostoványi TELLE Zsolt (nyomtatott könyv) ChaptersISBN 4, 5, 978-963-503-690-5 6 were supported by the National Research, DevelopmentISBN 978-963-503-691-2 and Innovation Office – NKFIH (on-line) (#120183) Borítókép: Google Earth, 2018. ISBN 978-963-503-764-3 ISBN (e-book) 978-963-503-765-0 A képfelvételeket készítette: Bagi Judit, Csicsmann László, Dévényi Kinga, Farkas Mária Ildikó, Iványi L. Máté, Muhammad Hafiz, Pór Andrea, Renner Zsuzsanna, Sárközy Miklós, Szombathy Zoltán, Tóth Erika. A szabad felhasználású képek forrását lásd az egyes illusztrációknál. Külön köszönet az MTA Könyvtár Keleti Gyűjteményének This book was published according to thea cooperationkéziratos ol dalakagreement felhasználásának between engedélyezéséért. Corvinus University of Budapest and the Hungarian National Bank. Published in cooperationKiadó with the: EuropeanBudapesti Institute Corvinus at Columbia Egyetem University in New York A kötet megjelentetését és az alapjául szolgáló kutatást a Magyar Nemzeti Bank támogatta. Publisher: Corvinus University of Budapest Printed: Komáromi Printing and Publishing LTD Leader in charge: Ferenc János Kovács executive director CONTENTS Foreword Csaba Békés ....................................................................................................9 CHAPTER 1: Explaining the Cold War, Debates and Representations Cold War or not? The Institute of World Economy and Politics and the Soviet foreign policy (1943 – 1948) Andrea Borelli .................................................................................................13 The logic of force: Henry Kissinger’s PhD Dissertation about the Sense of Insecurity and the Origins of the Cold War Sara Roda .......................................................................................................23 Cold War Representations in US Museums Jula Danylow ..................................................................................................37 CHAPTER 2: The nuclear raison d’état: Rearmament and disarmament The Cuban Missile Crisis: A Triangulated Vision Kate Levchuk ..................................................................................................49 Top Secret Soviet and Hungarian Plans for Pre-emting NATO – USA Unexpected Nuclear Strikes Rita Paroda .....................................................................................................79 Nuclear Madness: What was Special about the Brazil – Germany Nuclear Agreement of 1975? Thomas Kollmann ...........................................................................................85 Ingredients to the 1983 War Scare: Did Operation Able Archer 83 get us Close to World War III? Gábor Vörös ...................................................................................................95 Pacifism and Reality: Article 9 of the Japanese Constitution Levente Szabó ..............................................................................................113 CHAPTER 3: The Eastern Bloc at the Crossroads: Resistance, Negotiation and Conflict The Importance of Internal Dynamics in the Eastern Bloc Diego Benedetti ............................................................................................123 Possibility or Necessity? Hungary’s Road to IMF membership Ágnes Remete ..............................................................................................138 Armed Anti-Communist Resistance in Slovenia 1945–50 Oskar Mulej ..................................................................................................153 The Armenian Genocide in Soviet Armenian Collective Memory Éva Merenics ................................................................................................165 CHAPTER 4: Exporting the Cold War: Diplomacy, Pragmatism and Interventionism Between Economic Interests and Cold War motives – German activities in the Central African Region during the Second Scramble for Africa Torben Gülstorff ............................................................................................183 “Friends” with Benefits Relations between Hungary and countries of the Middle East during the Cold War Dániel Vékony ...............................................................................................201 Broadening the Limits: Austrian Foreign Policy under Four Power Occupation Dóra Hórváth ................................................................................................210 CHAPTER 5: Soft Power, Propaganda and Socio-Cultural Effects Psychological Warfare and Soft Power: a State of Total War Fatima Dar ....................................................................................................227 Cold War Propaganda: the Case of the Italian Communist Party in the 1956 Hungarian Crisis Aniello Verde .................................................................................................235 Bursting the Savior Myth: Intellectual Backlash against Radio Free Europe Adriana Popa ................................................................................................248 A Penny for Every Word: Radio Free Europe’s Call for “Truth Dollars” Monique Kil ..................................................................................................259 The 1957 Moscow Youth Festival and the Hungarian Delegation Orsolya Pósfai ..............................................................................................275 The Soviet Western, 1964–1982: Sovietising Hollywood Christian Amos .............................................................................................295 Spies, Stars and Stripes: How the 1960’s Cold War Made Russians Likeable in Star Trek and The Man from UNCLE Thalia Ertman ...............................................................................................325 CHAPTER 6: Post-Cold War Dilemmas: Transitions, Realignments and New Agendas Mind the Gap: Rebuilding the US – Russian Space Bridge in the Post-Cold War Era Tinatin Japaridze ..........................................................................................345 Hybrid Regimes: Stuck in Transition or Fully-fledged Regimes? A Comparative Study with Special Reference to Russia and Iran Matteo De Simone ........................................................................................357 Getting Our Money’s Worth: the Impact of US Aid on Democratization in Ukraine Thomas Alexander Gillis ...............................................................................372 Hungarian Neighborhood Policy towards Romania from 1989 Virág Zsár .....................................................................................................380 The Independence of Estonia and the Russian-speaking Minority Roland Papp .................................................................................................401 From Conflict to Cautious Embrace: Sino–Russian Relations after the Cold War Joseph Larsen ..............................................................................................407 Darwinian Superpower: “Can the Chinese Communist Party Adapt to the Pressures of China’s Domestic Reforms?” Jonathon Mark Woodruff ..............................................................................421 Unlocking the Environmental Debate in the post-Cold War Era: the Case of Global Governance of Ocean Acidification Gáspár Békés ...............................................................................................446 List of Contributors ....................................................................................460 Appendix The programs of the Annual International Student Conferences of the Cold War History Research Center at Corvinus University of Budapest, 2010–2016 .................................................................................461 FOREWORD 9 FOREWORD The Cold War History Research Center was established in December 1998, as the first scholarly institution founded as a non-profit organization in East Central Europe. The Center is specialized in historical research in the Cold War era, focusing on the former Soviet Bloc. From the outset the Center has been contributing to the flourishing of the “new Cold War history” aimed at trans- forming the previous one-sided approach based primarily on Western sources, finally into a really international discipline through the systematic exploration of the once top secret
Load more

Recommended publications
  • Tiff 2015 Lineup
    TIFF PRE-PRODUCTION SPACE MOWGLI directed by Alexey Fedorchenko MALYSH dramatic space fantasy production 2015–2016, Russia, 29th February Film Company producer synopsis Aleksey Fedorchenko, The basis of the film is the Strugatskiy brothers’ famous fantastical novel Space Mowgli, Dmitri Vorobyov which recounts the tragic crash of the spaceship Pilgrim, whose mission was to establish con- screenplay tact with extraterrestrial civilizations. While entering the orbit of a distant, uninhabitable Mikhail Maslennikov, planet, Pilgrim is unexpectedly attacked by a satellite. Both pilots on board – Alexander and based on the novel Maria-Luisa Semyonov – perish, but their newborn child (“the Kid”) miraculously survives. Space Mowgli No one on Earth knows about the tragedy, as Pilgrim’s captain, the Kid’s father, de- by Arkadi and Boris Strugatskiy stroyed the ship’s logbook and had cut all communication with humans in fear of a pos- (authors Stalker by Andrey Tarkovsky, sible invasion of a hostile civilization. Hard to Be a God by Alexey German) Seventeen years later, a large-scale expedition from Earth is conducted to prepare the uninhabitable planet for colonization. As the exploration party is about to complete its mission, they find out that they are not alone on the planet. The presence who tries to make contact with the exploration team is that very same Kid – the sole survivor of the Pilgrim catastrophe. It turns out that the Kid was saved and raised by a local species very much unlike human beings. These aliens raised the Kid into someone not quite human. They saved him not out of humane considerations, but to use him as a negotiator to dissuade outside civilizations from ever attempting to reach this planet.
    [Show full text]
  • UU Spring2019 Complete.Pdf (13.MB)
    Volume 12 Issue 1 Spring 2019 A Journal of Georgetown University’s Tocqueville Forum for Political Understanding Editor-in-Chief Mark McNiskin Managing Editor Emily X. Ren Editor-at-Large Jacob Dyson Section Editors Christof Kuehne and Aidan Poling (The Forum) Benjamin Brazzel (The Archive) William Leo (The Sanctuary) Carrie Connelly and Savannah Willard (The Parlor) Mark McNiskin (The Clock Tower) Digital Editor Sachin Meier Copy Editor Nathalie Danso We are announcing our new website! The editorial staff of Utraque Unum is proud to present our new digital ver- sion of the journal, which can be found at utraqueunum.org. The website will feature digital-exclusive articles and interviews, letters from readers, a complete archive of the journal's collection, and the chance to engage other readers of the journal in conversation and scholarship. In addition, each new print edition will be available to read online. We encourage our readers to check out this exciting new chapter in our story. Please direct any reader responses or letters to [email protected]. Happy reading! Acknowledgements The publication of Utraque Unum was made possible by the generous support of Bill Mumma, the Collegiate Network, and the Intercollegiate Studies Insti- tute. Additional funds were provided by the Tocqueville Forum for Political Understanding. The mission of the Tocqueville Forum for Political Understanding is to en- courage a deeper engagement with the intellectual and cultural traditions that form the basis of the American federal democratic republic. The Tocqueville Fo- rum sponsors these activities solely through the contributions of generous sup- porters of its mission.
    [Show full text]
  • Tarkovsky's Musical Aesthetic in the Context of the Sonic Arts
    ESSAY The Music of Sound Tarkovsky’s Musical Aesthetic in the Context of the Sonic Arts VOL. 110 (DECEMBER 2020) BY FLORIAN HOLLERWEGER In his book Sculpting in Time, Andrei Tarkovsky distills the essence of his perspective on cinematic sound into the following statement:​1​ Above all, I feel that the sounds of this world are so beautiful in themselves that if only we could learn to listen to them properly, cinema would have no need of music at all. This aesthetic is directly reflected in Tarkovsky’s oeuvre, such as in the extremely sparse use of film music in the traditional sense in his films Solaris (1972), Stalker (1979), and The Sacrifice (1986). Without additional context, Tarkovsky’s statement could therefore be understood to stand in contradiction to this special issue’s premise that music forms “an intricate component” of Russian cinema that is “weaved into” the very fabric of its films. The following account of a conversation with Tarkovsky by his musical collaborator Eduard Artemyev seems to further support such an argument.​2​ He [Tarkovsky] said: “[…] I do not need an ordinary film music. I cannot stand it, and I do my utmost in order to escape it …” […] In short, he told me at length and eloquently how he didn’t need film music – all these overtures, main themes, lyric songs… “Only ambience, only organisation of sounds and noises […].” These words could be interpreted as a rejection of the use of music in film altogether. In contrast to such a reading, however, I will argue that Tarkovsky’s vision of an “organisation of sounds and noises” exhibits remarkable parallels to larger developments in musical aesthetics of his time.
    [Show full text]
  • Andrei Tarkovsky: SOLARIS (1972, 167M) Spelling and Style—Use of Italics, Quotation Marks Or Nothing at All for Titles, E.G.—Follows the Form of the Sources
    Virtual October 27, 2020 (41:9) Andrei Tarkovsky: SOLARIS (1972, 167m) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries + Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the Fall 2020 BFS Zoom link for all Fall 2020 BFS Tuesday 7:00 PM post-screening discussions: https://buffalo.zoom.us/j/92994947964?pwd=dDBWcDY vSlhPbkd4TkswcUhiQWkydz09 Meeting ID: 929 9494 7964 Passcode: 703450 Directed by Andrei Tarkovsky Screenplay by Fridrikh Gorenshtein and Andrei Tarkovsky Based on the novel by Stanislaw Lem (novel "Solaris") 1972 Won: FIPRESCI Prize and Grand Prize of the Jury; Produced by Viacheslav Tarasov nominated for Golden Palm Original Music by Eduard Artemyev Cinematography by Vadim Yusov Andrei Tarkovsky (4 April 1932, Zavrazhe, Ivanono, Production Design by Mikhail Romadin USSR [now Russia]—29 December 1986, Paris, France, lung cancer) wrote 16 and directed 11 films. The films he Natalya Bondarchuk...Hari directed are: Offret/The Sacrifice (1986), Donatas Banionis...Kris Kelvin Nostalghia/Nostalghia (1983), Tempo di viaggio/Voyage Jüri Järvet...Dr. Snaut in Time (1983), Stalker/ Сталкер (1979), Zerkalo/The Vladislav Dvorzhetsky...Henri Berton Mirror (1975), Solyaris/Solaris (1972), Andrey Nikolai Grinko...Kelvin's Father Rublyov/Andrei Rublev (1966), Ivanovo detstvo/Ivan’s Anatoli Solonitsyn...Dr. Sartorius Childhood (1962), Katok i skripka/The Steamroller and Sos Sargsyan...Dr. Gibarian the Violin (1961), Segodnya uvolneniya ne budet/There Olga Barnet...Kelvin's Mother Will Be No Leave Today (1959), Ubiytsy/The Killers Tamara Ogorodnikova...Aunt Anna (1958).
    [Show full text]
  • Incontri Con La Cultura Russa: Il Cinema
    BANCA POPOLARE DI VERONA GRUPPO BANCO POPOLARE Incontri con la Cultura Russa: il cinema con il patrocinio di: 10 appuntamenti con il cinema russo BANCA POPOLARE DI VERONA GRUPPO BANCO POPOLARE La rassegna “Incontri con la cultura russa: il cinema” è stata promossa da: Banca popolare di Verona, Associazione Conoscere Eurasia Fondazione “Russkij Mir” Ideatore e Curatore: Vittorio Zattra Organizzatori: Cesare Gabrielli Vittorio Zattra Julia Sermyagina Relatori: La sede degli incontri è: Ugo Brusaporco (curatore delle schede dei fi lm) BANCA POPOLARE DI VERONA prof. Sergio Pescatori Via San Cosimo, 10 37121 Verona Tel. 045 8675911 Fax 045 8675947 www.bpv.it 2 InI cocontri con la CuCultltuura RuR ssa: il cinema Incontri con la Cultura Russa: il cinema 10 appuntamenti con il cinema russo Presentazione Questa serie di incontri, curati da Vittorio Zattra e dedicati ai capolavori del cinema russo, inaugurano un anno ricco di appuntamenti con la cultura russa che l’Associazione Conoscere Eurasia intende proporre alla città di Verona. Il nostro obiettivo, in questa prima rassegna cinematografi ca, è di offrire un’immersione nelle atmosfere della parentesi sovietica avvalendoci sia di fi lm dell’epoca, sia dello sguardo retrospettivo di alcuni registi contemporanei. La non facile scelta dei dieci fi lm in rassegna è avvenuta tramite un meccanismo di concertazione piuttosto originale. L’idea era di tenere conto delle diverse sensibilità di un pubblico composto sia da russi che da italiani, sia da esperti che da profani. Per raggiungere questo scopo, abbiamo coinvolto un gruppo di persone eterogeneo come il nostro pubblico e, al suo pari, accumunato dalla passione per la cinematografi a.
    [Show full text]
  • Russian Pioneers of Sound Art in the 1920S
    Smirnov A., Pchelkina L., Russian Pioneers of Sound Art in the 1920s. Catalogue of the exhibition 'Red Cavalry: Creation and Power in Soviet Russia between 1917 and 1945'. La Casa Encendida, Madrid, 2011. Russian Pioneers of Sound Art in the 1920s Andrey Smirnov / Liubov Pchelkina The brief lapse in time between the 1910s and the 1930s was marked in Russia by a series of cataclysms. During this period, a country which throughout its history had imported its system of values and official culture devised totally original conceptions for the development of various technologies in numerous areas of the arts and sciences. The culture of the early 20s was very much based on principles of anarchy. Between 1917 and 1924 the traditional Russian State was almost ruined and society was structured as a sort of anarchical ‘network culture’ based on numerous cross-connected ‘creative units’ – artists, scholars, politicians, etc. In 1918, the Federation of Futurists declared: ‘Separation of Art from the State. Destruction of control over Art. Down with diplomas, ranks, official posts and grades. Universal Artistic Education.’1 This artistic Utopia coexisted with the brutal policy of War Communism, conducted by the state during the Civil War and replaced with the NEP (New Economic Policy) in 1921, when socialist ideas were combined with possibilities of free business. Although Lenin hated ‘futurists’ (after the Revolution this name was extended to almost all avant-garde arts), at the same time he suffered them. Therefore a unique opportunity arose: the State was keen to encourage art that broke with tradition and was being developed in Arseny Avraamov conducting the Symphony of Sirens, Moscow, 7.11.1923.
    [Show full text]
  • Nikita Sergeevič Michalkov
    12 Regia: Nikita Mikhalkov Soggetto: Reginald Rose (sogg. e scenegg. del 1957) Sceneggiatura: Nikita Mikhalkov, Vladimir Moiseyenko, Aleksandr Novototsky Fotografia: Vladislav Opelyants Musica: Eduard Artemyev - Interpreti: Nikita Mikhalkov, Sergei Makovetsky, Sergei Garmash, Aleksei Petrenko, Valentin Gaft, Yuri Stoyanov, Mikhail, Yefremov, Sergei Gazarov, Aleksandr Adabashyan, Viktor Verzhbitsky, Aleksei Gorbunov, Roman Madyanov, Sergei Artsybashev Origine: Russia - Anno: 2007 Durata: 153' Produzione: Trite Distribuzione: 01 Distribution (2008) IL REGISTA: Nikita Sergeevič Mikhalkov, Mosca 21ottobre 1945 Nikita Mikhalkov nasce in una famiglia dalle forti ascendenze artistiche: suo padre Sergej Vladimirovič Mikhalkov è uno scrittore e poeta, celebre in Russia per aver scritto il testo dell'inno nazionale del suo Paese in due diverse occasioni, mentre la madre, la poetessa Natal’â Petrovia Končalovskaâ, era la figlia del pittore Petr Petrovič Končalovskij e la nipote del pittore Vasilij Ivanovič Surikov; suo fratello maggiore è invece il regista Andrej Končalovskij. Mikhalkov inizia a studiare recitazione sin da bambino al Teatro d'Arte di Mosca, passando nel 1963 alla Scuola di teatro Boris Schukin del Teatro Vachtangov. Nel 1964, ancora studente, compare come protagonista nel film di Georgi Daneliâ “ A zonzo per Mosca ”. La passione per la recitazione rimarrà comunque costante in lui, ed anche quando si cimenterà come regista continuerà ad apparire in veste di attore in lavori propri e non. Mentre continua la sua carriera da attore, Mikhalkov si iscrive al VGIK, prestigiosa scuola statale di cinematografia presente a Mosca, ove segue il corso di regia di Michail Il'ič Romm. Durante questo periodo dirige due cortometraggi per altrettante prove d'esame, “La bambina e le cose” ed “E io torno a casa”, mentre nel 1970 è la volta di “ Una giornata tranquilla alla fine della guerra, che presenterà come saggio finale di diploma.
    [Show full text]
  • The Terrible
    The Terrible Genre: Historical drama Length: 8х60’ Format: HD Director: Alexey Andrianov Cast: Alexander Yatsenko, Sergey Makovetsky, Tatiana Lyalina, Artur Ivanov, Konstantin Kryukov, Igor Mirkurbanov, Vladimir Steklov, Victor Sukhorukov Distributor: Sovtelexport, the official sales branch of Russia Television and Radio Synopsis The life of the most controversial and mysterious Russian ruler, Ivan IV, is light and darkness. Torn between mercy and cruelty, the deeply religious tsar considered himself an awful sinner. Despite being an incredibly educated and literary gifted person, a reformer and a creator, he was a cruel tyrant. The greatest statesman went through glorious victories and bitter defeats. He was blessed with big love, which he eventually lost in the darkness of plots and intrigues. This tragedy changed him, and Ivan IV morphed into infamous Ivan the Terrible, brutal and ruthless. Trailer The plot. light and darkness 1571. Moscow is devastated after the brutal raid of the Crimean Khan Devlet-Girey. Sovereign Ivan the Terrible thinks that his kingdom came to an end and starts writing his life chronicle. He recalls his childhood in an orphanage, constant fear and humiliation from his guardians. He remembers when he was young and just began to rule. He thinks about his first wife, Anastasia. Living with her was the happiest period of his life. This great love illuminated the first years of his reign, when he was surrounded by loyal people and wise advisers. He conquered Kazan, created a new army, established a new law, his heir was born. He remembers how the bright reign ended: the heir died, his mother did too; and one by one his faithful companions turned into traitors.
    [Show full text]
  • Burnt by the Sun
    Burnt by the Sun A film evening with Nikita Mikhalkov Wednesday 20th April 2016 Film starts at 18.30 Buffet reception at 20.00 At WIPO 34 chemin des Colombettes 1211 Geneva A copy of this invitation must be presented at the entrance, along with photo identification. Burnt by the Sun The events of the film take place in the summer of 1936. The main character of the film – the legendary Red Commander Kotov, a hero of the Civil War and a favourite of Stalin – spends the summer in a dacha outside Moscow with his beloved wife, little daughter and the family of his wife. Kotov’s wife’s family are representatives of the old-world bourgeois intelligentsia and they are trying to live as if nothing has happened to their world. Paradoxically, their illusion is maintained thanks to Kotov who puts up with them out of love for his wife Marusya and their daughter Nadia. This idyll of calm and happiness is suddenly disturbed by the arrival of Mitya, a former student of Marusya’s father and her ex-fiance. Mitya is a part of that world which was destroyed by the revolution and by those like Kotov. The “relatives” of Marusya, who just tolerate Kotov, warmly welcome Mitya with open arms. Today’s Mitya, however, is an officer of the secret police NKVD. And he has not come just to visit. He has come to take revenge. Now Kotov has to experience what it means to suddenly lose everything that is dear to his heart. Whoever kills the dragon, becomes a dragon, which, in turn, must be killed.
    [Show full text]
  • Andrei Tarkovsky: 7Η Τεχνη Και Μουσικη
    1 ΤΜΗΜΑ ΜΟΥΣΙΚΗΣ ΕΠΙΣΤΗΜΗΣ ΚΑΙ ΤΕΧΝΗΣ ANDREI TARKOVSKY: 7Η ΤΕΧΝΗ ΚΑΙ ΜΟΥΣΙΚΗ ΓΚΙΝΗ ΑΓΓΕΛΙΚΗ Α.Μ. 14/10 Επιβλέπων Καθηγητής: Βασιλειάδης Αναστάσιος Συνεπιβλέπων Καθηγητής: Βράνος Γεώργιος Θεσσαλονίκη Ιούνιος 2014 2 O Ταρκόφσκι για μένα είναι o μεγαλύτερος από όλους μας, αυτός που επινόησε μια νέα γλώσσα, πιστή στην φύση του κινηματογράφου, καθώς συλλαμβάνει τη ζωή ως αντανάκλαση, τη ζωή ως ένα όνειρο" Ιngmar Bergman (1918-2007) 3 ΠΕΡΙΕΧΟΜΕΝΑ Ευχαριστίες………………………………………………………………………………………………………………………4 Πρόλογος ………………………………………………………………………….................................................5 Εισαγωγή…………………………………………………………………………..................................................6 Κεφάλαιο 1ο : H αξία και ο ρόλος της κινηματογραφικής μουσικής 1.1 Λειτουργία της κινηματογραφικής μουσικής................................................................7 1.2 Σχέση μουσικής και εικόνας...........................................................................................8 1.3 Η συνεργασία σκηνοθέτη-συνθέτη................................................................................8 1.4 Χρονική τοποθέτηση της μουσικής στην ταινία (τίτλοι αρχής, τέλους και διάρκεια)...9 1.5 Αυθεντικότητα και δανεισμοί.......................................................................................10 Κεφάλαιο 2ο: ‘’Ο σιωπηλός νοσταλγός’’ Andrei Tarkovsky 2.1 Βιογραφικά στοιχεία και κινηματογραφικό έργο..........................................................12 2.2 Οι επιρροές και το Σοβιετικό καθεστώς.........................................................................13
    [Show full text]
  • Stalker Monument, Theme Park and Festivals
    Stalker Monument, Theme Park and Festivals Pre-Feasibility study Tallinn 2010 1 Contents Stalker Theme Park and Culture Events ..........................................................................................1 Pre-Feasibility study.........................................................................................................................1 1 Executive summary;.................................................................................................................3 2 Description of the current regional situation in the particular field; ........................................4 2.1. Locations of project activities ..........................................................................................4 2.1.1 Tallinn ......................................................................................................................4 2.1.2 Project source...........................................................................................................8 2.1.3 Stalker theme park....................................................................................................9 2.1.4 Marking the shooting locations nearby Tallinn......................................................13 2.2. Ida-Virumaa County.......................................................................................................14 2.3. Sillamäe..........................................................................................................................15 2.4. Kohtla-Järve ...................................................................................................................16
    [Show full text]
  • © A. Burak 2020 Department of Languages, Literatures and Cultures Summer B 2020 RUT 3500 (Section RUT1/Class# 17688) Russian Cu
    Department of Languages, Literatures and Cultures Summer B 2020 RUT 3500 (Section RUT1/class# 17688) Russian Cultural Heritage (3 General Education Credits in Humanities or International Studies – H, N) Classes: M, T, W, R, F, Period 4 (12:30 PM - 1:45 Instructor: Dr Aleksandr L’vovich Burak PM) Dauer Hall, room 254 No final exam/3 100-word response essays E-mail: [email protected] Tel: (352) 273-3798 Office hours: W period 6 (1:45-2:45 PM) or by appointment COURSE DESCRIPTION: Course Description: The course provides an overview of Russia’s history and significant contributions to world literature, music, painting, theatre and cinema. The classes are conducted entirely in English as a combination of lectures and discussions based on home readings of introductory history texts, fiction prose, some basic artistic and philosophical texts, viewings of excerpts from films, and listening to music. No previous knowledge of Russian language or culture is required. (3 Gen Ed credits: H, N) The course is a combination of lectures, readings, discussions, films, and music. The lecture segment provides a general framework of the course, highlighting the essential elements of the reading material and, most importantly, filling in the gaps in and introducing fresh perspectives on the material found in the primary course sources. Thus, reading assignments constitute the core of the course, providing a more solid basis for informed discussion in class. On average, students are expected to read about 50-60 pages a week. All reading assignments are to be done in full by the set deadlines (See the schedule of topics and readings).
    [Show full text]