DOCSLIB.ORG

Results of the Russian Arctic Animated 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Results of the Russian Arctic Animated 2013 Results of the Russian Arctic animated 2013. April 22, 2014 Vladimir Putin held an expanded meeting of the Security Council "On the implementation of the state policy of the Russian Federation in the Arctic in the interests of national security." This region has traditionally been and remains in the sphere of Russian special interests. Here are concentrated almost all aspects of national security: military-political, economic, technological, and environmental and resource. At the same time Russia is actively expanding its information, scientific, humanitarian presence in the Arctic. "An important role was played by passing the initiative of Russia International Forum "The Arctic - Territory of Dialogue", - emphasized in his speech the President of the country. "Popularization of the Arctic and its heroes , its unique environment - a special direction in the Russian Geographical Society ," - said the Minister of Defense and the President of the RGS Sergei Shoigu during the latter third of the International Forum "The Arctic - Territory of Dialogue", which was held in Salekhard (September 2013 year). Shortly after the historic meeting of the Security Council on the Arctic, the Russian Government approved the State program "Socio-economic development of the Arctic zone of the Russian Federation for the period till 2020", prepared by the Ministry of Regional Development and the Introduction to the Cabinet at the end of 2013. According to the adopted state program in the border of the Arctic zone of the Russian Federation (Russian Arctic) completely into the Murmansk region, Nenets Autonomous District, Yamal-Nenets Autonomous District, Chukotka Autonomous District, and partly - Republic of Sakha (Yakutia), Krasnoyarsk region, Arkhangelsk Region and the city of Vorkuta (Komi Republic). In the Arctic zone of the Russian Federation (Russian Arctic) resides more than 2.5 million potential viewers Russian and foreign consumers’ cartoons and animation industry of licensed products. This represents less than 2% of the population and about 40% of the population across the Arctic. After finishing 19th Open Russian Festival of Animated Film (Suzdal, 19-24 March 2014), which traditionally is a key event for summarizing activities of the animation industry, we made an overview of last year's animation activity in the regions of the Russian Arctic. Also, this material presents you an overview of other events and facts in Russian animation movie, which can be attributed to the arctic and polar category and which are not limited only to 2013 year. Formation of regional Arctic animation infrastructure. Chukotka Autonomous District. In January 2013 in Anadyr announced the establishment of an amateur studio "Chukotfilm". New creative association - a logical continuation of 3D-animation studio "Detfilm" created by artist and teacher Alexander Spiridonov children's library in the city. The first project studio "Chukotfilm" game will be an animated film with the working title "In the snows of Chukotka". This will be a full-length adventure, which along with the filming will be used two computer-and three- dimensional animation technology with "machinima". The film is based on a fantastic story about the adventures of the young inhabitants of Anadyr in the distant past, during the Second World War. In addition to the feature film, the studio organizers plan to create a computer game, as well as three- dimensional map of Anadyr. The idea of development of animation art is more interested in entrepreneurs who at the initial stage plan to support "Chukotfilm". The Republic of Sakha (Yakutia). In February 2013 Music and Folklore Museum of Yakutia presented dubbing into foreign languages in the country first full-length animated film "Nyurgun Bootur Swift" (director - Sergey Zverev ) based on the same olonkho Platon Oiunsky (museum director and project manager - Aiza Resetnicova). In the creation of the film attended by teachers and students of the Institute of Foreign Philology and Regional Studies at North -Eastern Federal University. In order to promote Olonkho cartoon released in five languages - English, German, Japanese, Chinese and Korean, but there are already plans to build two more versions of translation - the Spanish and Turkish. (Still from the film "Nyurgun Bootur Swift," 2010-2013) The history of this project began in 2005, when the Yakut epic was recognized by UNESCO Masterpiece of the Intangible Heritage of Humanity. Comfortable and modern form of popularization Olonkho was the creation of the cartoon, on which work has been basically completed in late 2010. In the years 2011 -2013 cartoon "Nyurgun Bootur Swift" featured as educational institutions in the country and abroad - particularly in the events organized by the Permanent Mission of the RS(Y) under the President of the Russian Federation in Moscow (Festival of music museums, Moscow, March 2011) and the leadership of the North -Eastern Federal University (Presentation olonkho translation into English, London, December 2013). Nevertheless, despite the good intentions and objectives of popularizing the Yakut epic animation based Olonkho still not represented on the Internet, do not have it and file storage in Yakutia. "Nyurgun Bootur Swift" remains, in fact, a kind of museum piece. Music and Folklore Museum of Yakutia plans cartoon show at the request of Yakutsk in schools and districts. (Stills from "Fish-Mosquito", 2007) Despite the rapid growth and success of the Yakut cinema in recent years, the development of animation in this arctic region, runs more quietly, which is apparently due primarily to insufficient number of trained professionals. The backbone of the future Yakut animation industry, it is mainly students and graduates of the St. Petersburg State University of Cinema and Television. And the most famous in Yakutia director and animator Robert Labidas - a graduate of the Higher Courses for Scriptwriters and Directors in 1999 (workshop Fedor Khitruk and Eduard Nazarov). The main efforts are concentrated Yakut animation now authoring short animation based on folklore. Currently, the country released a DVD "Yakut cartoons" ("Sahalyy multiktar"), which contains seven cartoons based Yakut folk tales: "Alaa - Mogus" - director, animator Konstantin Timofeev; "Taal - Taal emeehsin" ("The old woman Taal - Taal") - director Zinaida Borisova , animators Angelica Evdokimova – Efremova and Nikolay Efremov; "Bies ynahtaah Beyberikeen emeehsin" ("The old woman with five cows Beyberikeen") - directors Sardana Ivanova, Anatoly Kirillin, animators - Ariana Kulichkina and Alexey Tatarinov ; "Cycle", "Fish-Mosquito" - director, animator Robert Labidas; "Alaa - mogus and bird Tokko" - director Svetlana Sivtseva, animator Ariana Kulichkina; "Aanys" ("Anna" ) - director, animator Konstantin Timofeev. In addition to full-length and author of short animation in the country attempts to create commercial animation TV series ("The Adventures of sleepy owls", artist - Nikolai Popov), develops children's animation, the most interesting project of which is a children's animated series cognitive teacher Diana Shamaeva titled "Tiin meyii" aimed at learning the letters of the alphabet and the Yakut explanations of rarely used in the speech Yakut words and proverbs. Cartoon characters - funny little animals with whom the audience learn to seek a way out of different situations. Annually, held in Yakutsk city competitions among school students in computer graphics and flash animation. Yakut cartoons are increasingly information as a pretext for national publications journalists and student scientific research topic (Catherine Evseeva, "Modern Yakut cartoons in terms of environmental education", NEFU, 2012). And an important role, of course, for the development of the Yakut animation and formation of regional infrastructure animation played national and international film festivals. (Official symbols Yakutsk International Film Festival) In August 2013 took place in Yakutsk International Film Festival, whose predecessor was the first republican festival "Cinema of the Arctic", held in September 2011. The festival was a great success and had a wide resonance in the federal information media, which served as the growth of attention and interest in the Yakut cinema abroad. In 2011, in the category "Animation" became the best short film directed by Robert Labidas "Fish - Mosquito" (2007, producer center "Arctic Cinema", Yakutsk). Also during the festival held a round table on "Yakutia - Northeast vector of Russian cinematography". In the final resolution, prepared by the Union of Cinematographers of Republican rule, the roundtable participants took the initiative to the President of the Republic of Sakha (Yakutia), the rapid adoption of the Concept of Development in the Republic of national cinema and initiating the development of the film industry Development Programme. With regard to initiatives in the field of animated films, then, in particular, the resolution dealt with the signing of the Agreement between the Government of the Republic of Sakha (Yakutia) and the film studio "Soyuzmultfilm" to create animated projects for children and youth based on the folklore heritage of indigenous peoples of Yakutia. Thus, the "Cinema of the Arctic" was the starting point in the organization of the Yakut International Film Festival. In 2013, to participate in the contests are accepted films created in the Arctic region (Russia, USA, Canada, Finland, Sweden, Norway, Iceland, and Denmark). Animated films were presented
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • The Cameraman's Revenge
    Klassiki Cinema on the Hop Tuesday 14 April 2020 The Cameraman’s Revenge (1912) #Klassiki2 by Ladislas Starevich Ladislas Starevich is, to be frank, a name that everybody wonder whether this great heritage was fostered somewhat should know. A true pioneer, he is an early Russian stop by Starevich’s position as originator and homegrown genius. motion animator and his contributions to cinema still resonate today. The list of filmmakers he has influenced Animation lends itself to anthropomorphising animals, but includes luminaries such as Wes Anderson, the Brothers Quay Starevich was one of the first to tap into this power. He and Tim Burton. Charles Henri Ford, the American poet and stumbled accidentally on animation. As the Director of the filmmaker, stated that, “Starevich is one of those cinemagicians Natural History Museum in Kaunas, Lithuania, he wanted to whose name deserves to stand in film history alongside those of document the rituals of stag beetles. Upon finding that the Méliès, Emil Cohl and Disney.’” Not only was he technically nocturnal creatures went to sleep almost as soon as light innovative, Starevich had an artistic vision and keen turned on them, he decided to use the carcasses of dead emotional sensibility that makes his films utterly compelling. insects to produce educational films. However, he soon His stylistic imprint can be seen on many modern day plumbed the potential of this medium. The Cameraman’s classics. Recent contemporary animated films with entire Revenge is one of Starevich’s earliest films, and the direct sequences that reference his films include Wes Anderson’s result of this revelation.
    [Show full text]
  • “The Oera Linda Book” and “The Snow Queen”: Two Destinies of One Myth
    Journal of Siberian Federal University. Humanities & Social Sciences 1 (2015 8) 149-174 ~ ~ ~ УДК 304.444 “The Oera Linda Book” and “The Snow Queen”: Two Destinies of One Myth Ksenia V. Reznikova* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 12.08.2014, received in revised form 04.11.2014, accepted 11.12.2014 This article features globalization in its two forms: natural globalization and artificial globalization. The need of natural globalization becomes more obvious taking into account the growth of challenge to the humankind. Artificial globalization nowadays is provided by westernization. Influence of globalization is more obvious at the mental than at the physical level, construction of the historical past and its mythologization played major roles in the course of globalization. Different relations between ideology and myth can be traced on the example of the destinies of two works, in which almost the same idea of the world order is represented. These are “The Oera Linda Book” and “The Snow Queen”. As a part of the study, seven invariants of the fairy tale by H.C. Andersen were analyzed. The carried-out analysis is based on a hypothesis that artificial globalization influences mythology of certain cultures, distorting it for own needs, resorting to different methods for different forms of the myth representation. So, myths in their pure form, demanded by the adult representatives of culture, are subjected to criticism, they are charged of falsification. The ultimate goal of such an influence is to bury the myth in oblivion as false. The myth that is represented in the reduced art form for children’s audience has the changed plot basis and in this new form it is subjected to maximum replication to substitute the original version in a period of time.
    [Show full text]
  • Download Thesis
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991.
    [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]
  • Free-Digital-Preview.Pdf
    THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
    [Show full text]
  • Visualizing the Past: Perestroika Documentary Memory Of
    VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA by Erin Rebecca Alpert B.A. in Global Studies, College of William and Mary, 2007 M.A. in Slavic Languages and Literatures, University of Pittsburgh, 2009 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 2014 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Erin Alpert It was defended on May 12, 2014 and approved by Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Jeremy Hicks, Reader, Queen Mary University of London, Department of Russian Dissertation Advisor: Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Erin Alpert 2014 iii VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA Erin Alpert, PhD University of Pittsburgh, 2014 The main goal of this dissertation is to look at how, during perestroika, documentary breaks away from the traditional notions of the genre in order to reexamine and redefine traumatic events from the Stalinist period. The first chapter examines the nuances of three critical terms: “documentary,” “collective memory,” and “cultural trauma.” I then turn to a historical approach, exploring how political culture and technology affected the content, production, and screening of documentaries, first discussing the time leading up to perestroika and then the massive changes during the glasnost era. In the final chapters, I argue that there are three primary approaches the films examined in this project take to understanding the past.
    [Show full text]
  • ICTV Morozov
    CISCCONTENTONTENT:CONTENRTRREPORTEPORTEPORT CC ReviewОбзорОбзор of новостейaudiovisualновостей рынка content производства production and ии дистрибуциидистрибуции distribution аудиовизуальногоаудиовизуальногоin the CIS countries контента контента Media«»«MediaМ«»ÌЕДИÅÄÈ ResourcesА rÀРesourcesЕСУРСЫÐÅÑÓÐÑÛ МManagement ÌManagementЕНЕДЖМЕНТÅÍÅÄÆÌÅÍÒ» № №2№121(9)№24, №2 13 1April января, April, 1 July April, 30, 20152012 20132011 2012 tion but also be the award winners and nominees of тема номера DEARсловоDear colleagues!COLLEAGUES редакции different international film festivals. Despite large FOCUSFOCUS portion of information on the new movies, shows and УжеWeWe are areв первые happy toto дни present present нового you you the годаthe July Aprilнам, issue issue редакof the of cцtheиIsи: ПервыйLastseries autumn you’ll номер membersalso Contentfind theof Russian detailedReport association выходитreport on ofвthe televiкану re-н- UKRAINEКИНОТЕАТРАЛЬНЫ BECOMESЙ A ContentCIS:content Content Report, report Report сразу where whereстало we tried понятно,we to tried gather toчто thegather в most2011 the inм- Старогоsioncent anddeals movie Нового of international producers года, который chose distributors Red (наконецто) Square with the Screen cI sза-- всеmostteresting мы interesting будем up-to-date усердно up-to-date information и неустанно information about трудиться. rapidlyabout rapidly devel За- вершаетingspartners. as the чередуmost important праздников, industry поэтeventом of theу еще season. раз РЫН О К В УКРАИН Е : HIGH-PROSPECTIVETV MARKETS:
    [Show full text]
  • We Present the Catalog of Current Russian Animation-2021
    RAFA is Russian animated film association. RAFA represents the interests of Russian animation industry and helps to create favorable conditions for effective development of animation in Russia and worldwide. RAFA includes more than 60 companies which are involved in animation: production companies, TV channels, distribution and licensing companies. • If you need to communicate with any Russian studio, organization or animator • If you need assistance in participation in festivals and film markets in Russia • If you need to organize the presentation of your projects to Russian partners • If you need talents and studios for co-production JUST CONTACT RAFA! RAFA is proud to present opportunity of Russian animation to you. TAP HERE CONTENTS RAFA NAVIGATION ALPHABETICAL LIST INDUSTRIAL ANIMATION INDEPENDENT ANIMATION Dear Friends, Russian Animated Film Association presents the 10th anniversary сatalog of Russian Animation. The global pandemic has changed the usual format of many events, so now for the second year we are publishing the catalog in a convenient web format. In the 10 years that have passed since the release of the first catalog, we have come a long way. Since 2012, when RAFA was formed, the number of animation studios in Russia has doubled, and the production of animation has grown more than 5 times. Today RAFA unites more than 60 animation studios from 7 regions of Russia, which animation is adapted into 60 languages and distributed in more than 150 countries of the world. It is gratifying that despite the problems faced by many industries, Russian studios are not only continuing to produce animation but are also increasing its number and quality.
    [Show full text]
  • RAFA 2015.Pdf
    www.mkrf.ru RAFA is Russian animated film association. RAFA represents the interests of the Russian animation industry and helps to create favorable conditions for the effective development of anima ­­tion in Russia and worldwide. RAFA represents the interests of animation studios of all sizes, as well as individual flmmakers working in animation, including indep endent directors, production designers, animators etc. The association also includes organizations which are involved in animation: TV networks with an interest in animation,distribution companies and Internet companies, that is, all organizations whose business is related to the field of animation and who are interested in joining forces. • If you need to communicate with any Russian studio, organization or animator, • If you need assistance in participation in festivals and film markets in Russia, • If you need to organize the presentation of your services to Russian partners, • If you need talents and studios for co-production JUST CONTACT RAFA! RAFA is proud to present opportunity of Russian animation to you. Today RAFA is 40 best Russian studios that able for cooperation with you and 200 animators, composers, producers etc that would like to join your team. 4 5 CONTENTS RAFA 3 OPENING WORD 7 RUSSIAN ANIMATION TODAY 8 STUDIOS 10 SHORTS 180 ALPHABETICAL LIST 200 ON THE CATALOG WORKED 203 6 7 Dear friends, Russian Animated Film Association offers you the fourth edition of a catalogue of current animated films. In the new release, you will find information on all latest releases in the Russian animated film industry in 2014 and early in 2015. The new catalogue fundamentally differs from its predecessors.
    [Show full text]
  • Commemorative Coins of Russia
    ПАМЯТНЫЕ МОНЕТЫ РОССИИ 2017 ЕЖЕГОДНЫЙ COMMEMORATIVE КАТАЛОГ ПАМЯТНЫХ И COINS OF ИНВЕСТИЦИОННЫХ МОНЕТ БАНКА РОССИИ RUSSIA Уважаемые читатели! Dear Readers! Представляем Вашему вниманию We present the 26th edition of the annual 26-й выпуск ежегодного каталога памятных catalogue of commemorative and investment и инвестиционных монет, выпущенных в coins issued by the Bank of Russia. обращение Банком России. In 2017 in addition to the regular В 2017 году наряду с монетами series (“Outstanding Personalities of Russia”, регулярных серий («Выдающиеся личности “Architectural Monuments of Russia”, “Ancient России», «Памятники архитектуры Towns of Russia”, etc.) we issued two new России», «Древние города России» и др.) series, which can attract the interest not only были выпущены две новые серии, которые of numismatists but also of those who aren’t могут быть интересны как нумизматам, seriously involved in coin collecting: “Russian так и людям, серьезно не занимающимся (Soviet) Animation” and “Legends and коллекционированием, – «Российская Folktales of Russia”. (советская) мультипликация» и «Легенды и The sports section of the catalogue сказки народов России». features the commemorative coin “Practical Спортивный раздел каталога Rifle Shooting World Championship”, as well представлен памятной монетой «Чемпионат as the continuation of the coin programme мира по практической стрельбе из dedicated to the 2018 FIFA World Cup Russia. карабина», а также продолжением The XIX World Festival of Youth and Students, программы, посвященной Чемпионату мира which took place in Sochi in 2017, also was по футболу FIFA 2018 в России. Выпуском marked with a coin. монеты отмечен и ХIХ Всемирный Information about commemorative фестиваль молодежи и студентов, который and investment coins of the Bank of Russia прошел в 2017 году в Сочи.
    [Show full text]
  • Cinema of Sergei Parajanov Parajanov Performs His Own Imprisonment for the Camera
    The Cinema of Sergei Parajanov Parajanov performs his own imprisonment for the camera. Tbilisi, October 15, 1984. Courtesy of Yuri Mechitov. The Cinema of Sergei Parajanov James Steffen The University of Wisconsin Press Publication of this volume has been made possible, in part, through support from the Andrew W. Mellon Foundation. The University of Wisconsin Press 1930 Monroe Street, 3rd Floor Madison, Wisconsin 53711- 2059 uwpress.wisc .edu 3 Henrietta Street London WC2E 8LU, England eurospanbookstore .com Copyright © 2013 The Board of Regents of the University of Wisconsin System All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any format or by any means, digital, electronic, mechanical, photocopying, recording, or otherwise, or conveyed via the Internet or a website without written permission of the University of Wisconsin Press, except in the case of brief quotations embedded in critical articles and reviews. Printed in the United States of America Library of Congress Cataloging- in- Publication Data Steffen, James. The cinema of Sergei Parajanov / James Steffen. p. cm. — (Wisconsin fi lm studies) Includes bibliographical references and index. ISBN 978- 0- 299- 29654- 4 (pbk. : alk. paper) — ISBN 978- 0- 299- 29653- 7 (e- book) 1. Paradzhanov, Sergei, 1924–1990—Criticism and interpretation. 2. Motion pictures—Soviet Union. I. Title. II. Series: Wisconsin fi lm studies. PN1998.3.P356S74 2013 791.430947—dc23 2013010422 For my family. Contents List of Illustrations ix
    [Show full text]