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List of Films Considered the Best
Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics. -
Vanemuine Buklett 148X210mm
The exhibition When the Stage Lights Came On... tells ... the multi-layered story of a theatre by displaying the folio of prints Wanemuine 100, which focuses on the beginning of the Vanemuine Theatre. The folio ties together two important moments in time: the birth of Estonian language theatre and the beginning of the 1970s, when the local theatre life was influenced by its Soviet environment but also by the begin- nings of the theatrical renewal. Inspired by these layers, the folio is the impetus and central exhibit of the present exhibition. The students of the Estonian Academy of Arts who curated the exhibition travelled from the world of art to the world of theatre and brought a small piece of Estonian theatre history to the museum. In all probability, the folio, which is part of the Tartu Art Museum’s collections, has never been exhibited. This allowed us to unravel the collages from the folio like detectives and to delve into their sources to bet- ter understand the backstory of the folio. As a result of the research, this playbill that you are reading contains most of the photos that form the basis of the collages. Archival materials tell a multifaceted story that covers the period from the birth of Estonian language theatre up to the founding of professional theatre. It includes images of the people associated with theatre, the public festivals, the costumes and the theatre buildings. The foundation of the Vanemuine Theatre took place during the phase of active construction of Estonian nationality. It focused on a national narrative, on connecting individual events and celebrating anniversaries that assisted in asserting a collective sense of continuity. -
On the Topics and Style of Soviet Animated Films
BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE Article On the Topics and Style of Soviet Animated Films ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 16 DOI: 10.1515/bsmr-2017-0002 BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE ABSTRACT This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its develop- ment. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian ani- mation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s para- digm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow. -
Stop Motion & Motion Capture Stop Motion
VolVol 22 IssueIssue 1111 February 1998 Stop Motion & Motion Capture The Politics of Performance Animation FoamFoam PuppetPuppet FrabicationFrabication ExplainedExplained BarryBarry Purves Purves ThrowsThrows DownDown thethe GauntletGauntlet Little Big Estonia InsideInside MedialabMedialab Table of Contents February, 1998 Vol. 2, No. 11 4 Editor’s Notebook Animation and its many changing faces... 5 Letters: [email protected] STOP-MOTION & MOTION-CAPTURE 6 Who’s Data Is That Anyway? Gregory Peter Panos, founding co-director of the Performance Animation Society, describes a new fron- tier of dilemmas, the politics of performance animation. 9 Boldly Throwing Down the Gauntlet In our premier issue, acclaimed stop-motion animator Barry J.C. Purves shared his sentiments on the coming of the computer. Now Barry’s back to share his thoughts on the last two years that have been both exhilarating and disappointing for him. 14 A Conversation With... In a small, quiet cafe, motion-capture pioneer Chris Walker and outrageous stop-motion animator Corky Quakenbush got together for lunch and discovered that even though their techniques may appear to be night and day, they actually have a lot in common. 21 At Last, Foam Puppet Fabrication Explained! How does one build an armature from scratch and end up with a professional foam puppet? Tom Brierton is here to take us through the steps and offer advice. 27 Little Big Estonia:The Nukufilm Studio On the 40th anniversary of Estonia’s Nukufilm, Heikki Jokinen went for a visit to profile the puppet ani- mation studio and their place in the post-Soviet world. 31 Wallace & Gromit Spur Worldwide Licensing Activity Karen Raugust takes a look at the marketing machine behind everyone’s favorite clay characters, Wallace & Gromit. -
Sovyet Animasyon Filmlerinde Üslup Ve Tema1
DOI: 10.7816/ulakbilge-06-31-10 ulakbilge, 2018, Cilt 6, Sayı 31, Volume 6, Issue 31 SOVYET ANİMASYON FİLMLERİNDE ÜSLUP VE TEMA1 Ülo PİKKOV, Çev: Yasemin KILINÇARSLAN2 Öz Bu makale Sovyet animasyon sinemasına dair bir çalışmadır ve Sovyet animasyon sinemasının biçimsel ve tematik rotasının gelişimini analiz etmektedir. Sovyet animasyon sineması bölgenin politik iklimindeki dalgalanmalarla senkronize bir biçimde ortaya çıkmış ve bu politik iklim tarafından doğrudan biçimlenmiştir. Sovyet animasyon sinemasının bazı akımları ve trendleri diğer Avrupa ülkelerindekiyle de benzerlik göstermektedir. Buna karşın, Doğu Avrupa, sinema eğitimi, etkinlikler, festivaller, yayınlar vs. dair profesyonel bölgesel bir ağla etkileşim içinde olan sinemacılar aracılığıyla film üretimi için tek bir pazar olarak işlev gösteren entegre bir kültürel alan oluşturmuştur. Başlangıçta deneysel ve post devrimci Rus animasyon sineması diğer Sovyet sanatları gibi Sosyalist Gerçekçilik söyleminin egemenliği altındaydı ve çocuklar için didaktik bir tür olarak hızlı bir biçimde kristalize olmuştu. Sovyetler Birliği Batı zihniyetinin ve yaşam biçiminin ideolojik olarak zıt kutbu olarak görülmesine rağmen Disney paradigması Sovyet animasyon sinemasının hem görsel stil hem de tematik kapsam anlamında başlıca esin kaynağı olmuştur. Sovyet animasyon sineması endüstrisi sanatsal özgürlüğü bir dereceye kadar tolere eden ve farklı animasyon film çalışmalarını az da olsa benimseyen farklı stüdyolara ve cumhuriyetlere doğru yayılma göstermiştir. Estonya, Letonya ve Litvanya gibi daha küçük cumhuriyetlerdeki stüdyolar özellikle Moskova’da üretilen filmlere nazaran ideolojik anlamda daha karmaşık filmler çekme konusunda direnç göstermişlerdir. Anahtar kelimeler: Disney, çizgi film, Sosyalist Gerçekçilik, animasyon, sinema ON THE TOPICS AND STYLE OF SOVIET ANIMATED FILMS Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. -
Soviet Period Films in Today's Copyright Law: German and Baltic Experience
TRAMES, 2014, 18(68/63), 3, 199–219 SOVIET PERIOD FILMS IN TODAY’S COPYRIGHT LAW: GERMAN AND BALTIC EXPERIENCE Ramūnas Birštonas1, Thomas Hoffmann2, Aleksei Kelli2, and Vadim Mantrov3 1Mykolas Romeris University, 2University of Tartu and 3University of Latvia Abstract. This article reviews the legal experience of Germany, Estonia, Latvia and Lithuania dealing with the films that were created in these countries during the Soviet period. These films do not only form a remarkable part of the cultural heritage of these nations, but also a possible source of revenues as well. Within this context, a particularly acute question concerns the legal fate of digitized versions of these films, inflicting a multitude of copyright law issues, as the majority of these films are still protected by copyright. In contrast to the almost identical legal regulation in the Soviet period, after the collapse of the Soviet Union all the four countries investigated in this paper chose separate ways to address copyright problems which soon arose, resulting in a surprisingly heterogeneous treatment of film copyrights, which spans from considerably user-friendly solutions to factual lockups of the film stock. Keywords: audiovisual works, films, copyright, related rights, authors, performers, Soviet period DOI: 10.3176/tr.2014.3.01 1. Introduction Within society, films1 have several functions. They serve as mass media, still most essential today, apart from the internet. They are a form of artistic expression, and an economical factor. While its function as mass media has always been dominant since the creation of the first ‘motion pictures’ around 1900 – and therefore served as an ideal propaganda tool for various regimes – the importance of the artistic and the economic aspect changed over time. -
Screening Space in Film Adaptations of Estonian Historical Fiction: “The Last Relic” (1969) and “Between Three Plagues” (1970)1
SCREENING SPACE IN FILM ADAPTATIONS OF ESTONIAN HISTORICAL FICTION: “THE LAST RELIC” (1969) AND “BETWEEN THREE PLAGUES” (1970)1 PhD Eva Näripea Film Archive of the National Archives of Estonia, Estonian Academy of Arts Abstract This article analyses the spatial representations of “The Last Relic”Viimne ( reliikvia, Grigori Kromanov, 1969) and “Between Three Plagues” Kolme( katku va hel, Virve Aruoja, 1970). While almost diametrically different in terms of intention, execution and reception, the films exemplify the complex interplay of the past and the present that is typical to screen adaptations of historical fiction. “The Last Relic” and “Between Three Plagues” belong to the same wave of cinematic works that was inspired by debates on the architectural heritage of Tallinn’s Old Town in the late 1960s and early 1970s. Using this historical urban environment, as well as its broader field of connotations, as a central point of reference, the films provide intriguing critiques of the late Soviet period that was characterised by negotiations of power, identity and history. As specimens of the heritage film genre, “The Last Relic” and “Between Three Plagues” open up a room for discussing the discursive intricacies of narrating the nation, demonstrating that industrial conditions, audio-visual struc- tures and ideological undercurrents can sometimes lead to unexpected, even conflict- ing constellations. Keywords: Estonian cinema, heritage film, spatial representations, “The Last Relic” (Viimne reliikvia, 1969), “Between Three Plagues” (Kolme katku vahel, 1970). Introduction This article looks at two Soviet Estonian screen adaptations of historical novels: “The Last Relic” Viimne( reliikvia, Grigori Kromanov, Tallinnfilm, 1969), based on 1 This publication is an edited version of an article Viimne“ reliikvia” ja “Kolme katku vahel”: ruumist eesti ajalookirjanduse ekraniseeringutes, published in 2015 in Methis: Studia humaniora Estonica, No. -
Festival of Film Animation and Contemporary Art
1 14. Mednarodni festival animiranega filma Animateka 2017 KOLOFON 14th International Animated Film Festival Animateka 2017 CREDITS Urednica / Editor: Alenka Ropret Uredniški odbor / Editorial Board: Igor Prassel, Alenka Ropret, Maja Ropret Teksti / Texts: Jair Salvador Alvarez, Robert Löbel, Carolina López, Andrea Martignoni, Igor Prassel, Thomas Renoldner, Chris Robinson, Caroline Sury Oblikovanje / Design: Zoran Pungerčar Naslovnica / Front cover: Caroline Sury Prevod / Translation: Maja Ropret Lektoriranje / Proofreading: Mojca Hudolin Tisk / Print: Collegium Graphicum Naklada/Print Run: 700 Društvo za oživljanje zgodbe 2 koluta Ljubljana, 2017 CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 791.228.079"2017" MEDNARODNI festival animiranega filma (14 ; 2017 ; Ljubljana) Animateka / 14th International Animated Film Festival = [14.] mednaro- dni festival animiranega filma, 4.-10. december 2017, Ljubljana, Slovenia ; [teksti Jair Salvador Alvarez ... [et al.] ; urednica Alenka Ropret ; prevod Maja Ropret]. - Ljubljana : Društvo za oživljanje zgodbe 2 koluta, 2017 ISBN 978-961-94129-1-6 1. Gl. stv. nasl. 2. Alvarez, Jair Salvador 3. Ropret, Alenka 292757248 VSEBINA 6 UVOD / INTRO POSEBNE PREDSTAVITVE / SLON: VZGOJNO-IZOBRAŽEVALNI PROGRAM 11 ŽIRIJA / JURY SPECIAL PROGRAMMES ANIMIRANIH FILMOV ZA ŠOLE IN DRUŽINE / CONTENTS 17 NAGRADE / AWARDS 134 Posebna projekcija ob odprtju festivala / THE ELEPHANT: EDUCATIONAL ANIMATION Special Opening Screening FILM PROGRAMME FOR SCHOOLS AND 19 VZHODNOEVROPSKI IN SREDNJEEVROPSKI -
Nature, Movement, Liminality: Representing the Space of the Nation in 1960Ts Estonian Cinema
ISSN 2029-2074 REPRESENTING THE SPACE OF THE NATION IN 1960’S ESTONIAN CINEMA Eva Näripea Estonian Academy of Arts (Estonia) Keywords: Estonian cinema, representations of space, representations of history, national identities. Pagrindinės sąvokos: Estijos kinas, erdvės vaizdavimas, istorijos vaizdavimas, tautiniai tapatumai. Introduction The first decade of the 2000s witnessed some remarkable developments in Estonian cinema. Most noticeably, during the years of recent economic boom, the number of local productions took a drastic swing upwards with considerable assistance from the remodelled system of state subsidies for film-making, peaking in 2007 when a total of nine domestic feature films premiered in Estonia (Baltic Films… 2008). More importantly, however, the numerous prizes awarded to Estonian films at distinguished international festivals have both created a growing interest towards Estonian cinema on the global level and increased its reputation among the native audiences. While some attempts have been made to generate awareness of the local “cinearcheology” on the academic arena of film studies – both abroad and at home – the broader audiences are still under a strong impression that Esto- nian cinema as an individual sector of national cultural production was not formed until after the Estonian state was re-established in the early 1990s. Indeed, this attitude is a clear signifier of the fact that a certain branch and period of the Estonian culture – Soviet Estonian cinema – described accu- rately as a “great loner” already in the 1960s (Meri 1968), has firmly main- 90 tained the marginal position and that Soviet Estonian cinema is still not recognised as a self-evident part of the local cultural domain, at least not in the wider, popular imaginary. -
Baltic Cinemas— Flashbacks In/Out of the House
Irina Novikova Baltic Cinemas— Flashbacks in/out of the House In this paper, I will approach the cinemas of Pärnumaa (1914).’ (Tomingas 2006.) Pääsuke, Estonia, Latvia and Lithuania using the region- a famous ‘man with two cameras’, is widely alist concept of ‘Baltic cinemas’, to emphasise seen as the father of Estonian cinema. shared and general aspects in the national cine- matic processes, because ‘by looking regionally we see trends that otherwise remain neglected’ (Iordanova 2003: 12). The identities of the national cinemas of Estonia, Latvia and Lithuania are marked by several distinguishing features. They participat- ed in the cultural self-definitions and self- images of the three politically independent nations after they gained their independence in 1918. Discontinued from their pre-war legacy, they became part of the Soviet film industry for the (Fig. 2) socialist re-invention of national imaginaries. Ladislas Starevich They were challenged radically by the disruption of film production, distributional capabilities and Latvian film historians are also not unani- capacities, and screening policies in the transi- mous about the origins of their national cine- tion from the Soviet command economy to a matic tradition. The beginnings are seen either European/global capitalist one. The 1990s and in the first movie screened in Riga on May 28, 2000s have brought new cinematic practices 1896, the premiere of the first Latvian feature, and experiences, new ideological agendas to the I Went to the War (Es karā aiziedams, 1920), region, as well as new discussions/interpreta- or in the documentary films of the cinematogra- tions of the notion ‘national cinema’ in its mean- pher Aleksandrs Stanke on the unveiling of the ings of inclusivity/exclusivity and processuality. -
A View from the Periphery Spatial Discourse of the Soviet Estonian Feature Film: the 1940S and 1950S
Eva N ripea A View from the Periphery Spatial Discourse of the Soviet Estonian Feature Film: The 1940s and 1950s The article is written under target-financed research topic no. SF0030054s08. The first post-war decade and a half has more industry.1 According to Decree no. 281, issued or less faded from the story of (Soviet) Esto- by the Council of Peoples Commissars of the nian film-making; it forms a ‘black hole’ in Estonian SSR, the Tallinn Studio of Newsreels the collective consciousness of the country’s (Kinokroonika Tallinna Stuudio)2—initially cinematic heritage, a little-known and alien barely smouldering in the ashes of Estonian gap between two ‘owns’: the thin, yet still our Culture Film (Eesti Kultuurfilm)—was official- own, film culture of the pre-war Estonian Re- ly established on March 19, 1945 (Paas 2002: public, and the much-celebrated rise of the 70). Although certain threads still inevitably ‘national school of film’ at the beginning of connected the new era with the old Republic, the 1960s. The late 1940s and the 1950s have the purification of the system, both intentional rarely earned attention from today’s critics and and ancillary (i.e. war-related), was destined scholars, who tend to discard those years as a to serve a particular goal: to turn a completely somewhat shameful period of blatant socialist new page in the cinema of the now-occupied realism (see, e.g., Orav 2003: 16–20). This Soviet Estonia. The new cinematic culture was paper, however, seeks to re-investigate the established ‘as a transplant’, which, arguably, era’s feature films from the perspective of spa- for decades to come had very little to do with tial representations, considering how the cin- the organism of the local cultural life, as Len- ematic depictions of spaces, places and people nart Meri noted in his ground-breaking article inhabiting them resonate with ideological shifts ‘The great loner’ (‘Suur üksiklane’) in 1968. -
Five-Year Plan in Four: Kolkhoz Propaganda in Film and Documentaries in Estonia
SHS Web of Conferences 63, 10002 (2019) https://doi.org/10.1051/shsconf/20196310002 MODSCAPES 2018 Five-year plan in four: kolkhoz propaganda in film and documentaries in Estonia 1,1 Martti Veldi , Simon Bell¹ and Friedrich Kuhlmann¹ 1 Estonian University of Life Sciences, Chair of Landscape Architecture, Tartu, Estonia Abstract. In 1951 the first colour film in was produced Soviet Estonia– Valgus Koordis (“Light in Koordi village”). This never-before-seen medium applied effective ideological symbols to visualise the power of collective effort with the scope of difficulties building up the new life in a freshly established collective farm (kolkhoz). It was straightforward propaganda to demonstrate that in spite of difficulties, collective farming was the only correct way to achieve prosperity in the countryside. The theme of the film was to show the goodness of Stalinist improvements in a poor post-war rural community at the end of the 1940s. In a very simple manner, topics such as nationalism, the class struggle, socialist ideology, kulaks, collective ownership, mechanisation of agriculture and large-scale land improvements were presented. To capture the wider audience and to increase social impact, the film also starred the rising opera star Georg Ots, still considered as one of the greatest Estonian opera singers ever. In addition to ideologically charged films, a type of propagandist short documentary, the ringvaade (newsreel) was produced in Soviet Estonia. These concentrated on various aspects of Soviet lifestyle, aiming to demonstrate the achievements of collective ideology, and the high morale of the Soviet working class. We studied these and other examples in order to examine the range of themes and motifs presented in them, focusing on the ideological impact on the rural landscape caused by mechanisation, forest management and land melioration.