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Travel Restrictions Lifted with 14-Day Quarantine No Visit Visas • No Lockdown See Page 2 2 Friday Local Friday, February 19, 2021
FREE Established 1961 Friday ISSUE NO: 18365 RAJAB 7, 1442 AH FRIDAY, FEBRUARY 19, 2021 Travel restrictions lifted with 14-day quarantine No visit visas • No lockdown See Page 2 2 Friday Local Friday, February 19, 2021 By B Izzak As for flights from other countries, pas- sequences of the COVID-19 are on the table lowing day the government boycotted the sengers must be quarantined for seven of the health authorities,” government assembly session after three opposition law- KUWAIT: Kuwait’s civil aviation agency said days at one of the hotels and undergo a spokesman Tareq Al-Mazrem said on his makers filed to grill the prime minister. yesterday that a five-month ban on the entry PCR test on the sixth day. If the test result is Twitter account. He called on all to comply Twelve opposition MPs issued a joint of flights from 35 countries will be lifted from negative, they will be quarantined at home with health measures and to stay away from statement in which they bluntly blamed the February 21 but arrivals must be quaran- for another seven days, according to the rumors. No mention of any change in the prime minister and assembly speaker tined at local hotels for 14 days. Those announcement. suspension of visit visas. The issuance of Marzouq Al-Ghanem of attempting to countries include India, Egypt, Philippines, The announcement said that airlines new visit visas has been suspended since “undermine the constitution and forge the Pakistan and Bangladesh whose citizens operating to Kuwait must not accept any March 2020. -
Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions
Alexander Fedorov Soviet science fiction movies in the mirror of film criticism and viewers’ opinions Moscow, 2021 Fedorov A.V. Soviet science fiction movies in the mirror of film criticism and viewers’ opinions. Moscow: Information for all, 2021. 162 p. The monograph provides a wide panorama of the opinions of film critics and viewers about Soviet movies of the fantastic genre of different years. For university students, graduate students, teachers, teachers, a wide audience interested in science fiction. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 1 Table of Contents Introduction …………………………………………………………………………………………………………………………3 1. Soviet science fiction in the mirror of the opinions of film critics and viewers ………………………… 4 2. "The Mystery of Two Oceans": a novel and its adaptation ………………………………………………….. 117 3. "Amphibian Man": a novel and its adaptation ………………………………………………………………….. 122 3. "Hyperboloid of Engineer Garin": a novel and its adaptation …………………………………………….. 126 4. Soviet science fiction at the turn of the 1950s — 1960s and its American screen transformations……………………………………………………………………………………………………………… 130 Conclusion …………………………………………………………………………………………………………………….… 136 Filmography (Soviet fiction Sc-Fi films: 1919—1991) ……………………………………………………………. 138 About the author …………………………………………………………………………………………………………….. 150 References……………………………………………………………….……………………………………………………….. 155 2 Introduction This monograph attempts to provide a broad panorama of Soviet science fiction films (including television ones) in the mirror of -
October-November 2017 at BFI Southbank Events
BFI SOUTHBANK EVENTS LISTINGS FOR OCTOBER/NOVEMBER 2017 PREVIEWS Catch the latest film and TV alongside Q&As and special events Preview: Good Time USA 2017. Dir Ben Safdie, Joshua Safdie. With Robert Pattinson, Jennifer Jason Leigh, Barkhad Abdi. 101min. Digital. Cert tbc. Courtesy of Curzon Artificial Eye Small-time crook Connie (Pattinson) is on the run, hiding out with his mentally handicapped brother Nick (Ben Safdie), whom he loves and is fiercely protective of. When Nick winds up in jail after a botched job, Connie embarks on a desperate mission to bail him out that rapidly descends into a violent thrill-ride. Screened at the BFI London Festival this year, Good Time features a career-peak performance from Pattinson, while the Safdie Brothers (Heaven Knows What) have crafted a transcendent and deeply humane thriller. Tickets £15, concs £12 (Members pay £2 less) FRI 27 OCT 20:50 NFT1 Preview: Ingrid Goes West USA 2017. Dir Matt Spicer. With Aubrey Plaza, Elizabeth Olsen, O’Shea Jackson Jr, Wyatt Russell. 97min. Digital. Cert tbc. Courtesy of Universal Receiving its UK premiere at the BFI London Film Festival, this savagely dark comedy satirises the social media cult of followers and likes. Ingrid (Plaza), having become obsessed with Instagram influencer Taylor Sloane (Olsen), is transfixed by her idol’s perfectly curated online persona. However, when she insinuates herself into Taylor’s #blessed life, their friendship takes a dark turn and Ingrid’s true intentions are revealed. Tickets £15, concs £12 (Members pay £2 less) TUE 9 NOV 18:15 NFT1 Sonic Cinema Presents: Preview: Grace Jones: Bloodlight and Bami + Q&A with Grace Jones and director Sophie Fiennes Ireland-UK 2017. -
Reading Russia a History of Reading in Modern Russia
Scholars of Russian culture have always paid close attention to texts (eds.) . and their authors, but they have often forgotten about the readers. READING RUSSIA These volumes illuminate encounters between the Russians and their favorite texts, a centuries-long and continent-spanning “love story” Vassena that shaped the way people think, feel, and communicate. The fruit A HISTORY OF READING of thirty-one specialists’ research, Reading Russia represents the first attempt to systematically depict the evolution of reading in Russia from Raffaella IN MODERN RUSSIA the eighteenth century to the present day. and vol. 3 The third volume of Reading Russia considers more recent (and rapid) changes to reading, and focuses on two profoundly transformative Rebecchini moments: the Bolshevik Revolution of 1917, and the digital revolution of Damiano Rebecchini and Raffaella Vassena (eds.) the 1990s. This volume investigates how the political transformations of the early twentieth century and the technological ones from the turn of the twenty-first impacted the tastes, habits, and reading practices of the Russian public. It closely observes how Russian readers adapted to and/or resisted their eras’ paradigm-shifting crises in communication and interpretation. Contributors to volume 3: Evgeny Dobrenko, Abram Reitblat, Jeffrey Damiano Brooks, Thomas Lahusen, Olga Malinovskaya, Denis Kozlov, Josephine Von Zitzewitz, Oleg Lekmanov, Catriona Kelly, Birgit Menzel, Henrike Schmidt, Birgitte Beck Pristed. IN MODERN RUSSIA Dipartimento di Lingue e Letterature Straniere Università degli Studi di Milano READING RUSSIA. OF READING A HISTORY READING RUSSIA. A HISTORY OF READING IN MODERN RUSSIA Volume 3 Edited by Damiano Rebecchini and Raffaella Vassena Dipartimento di Lingue e Letterature Straniere Facoltà di Studi Umanistici Università degli Studi di Milano © 2020 degli autori dei contributi e dei curatori per l’intero volume ISBN 978-88-6705-594-4 illustrazione di copertina: M. -
From Roadside Picnic (The Strugatsky Brothers) to Stalker (Tarkovsky): a Work of Adaptation
[Scientific Articles] Milenic Z., Lapina-Kratasyuk E.G. From Roadside Picnic (the Strugatsky Brothers) to Stalker (Tarkovsky): a Work of Adaptation FROM ROADSIDE PICNIC (THE STRUGATSKY BROTHERS) TO STALKER (TARKOVSKY): A WORK OF ADAPTATION Milenic Z. Student of a Doctoral Programme “Linguistics and Literature Studies” at the National Research University Higher School of Economics (Moscow, Russia) [email protected] Lapina-Kratasyuk E. G. Candidate of Sciences in Cultural Studies, Associate Professor at the National Research University Higher School of Economics (Moscow, Russia) [email protected] Abstract: In this article, we compare the short novel Roadside Picnic (Piknik na obochine) by the Strugatsky brothers with different versions of scripts written by these novelists for the film Stalker by Andrei Tarkovsky. We aim to explore the unique ways in which Tarkovsky’s artistic vision through the adaptation from literary work to film changes the framework and main features of the science fiction (sci-fi) genre. Although the Strugatsky brothers were the authors of the script, the film Stalker (which was actually shot twice because the first version was destroyed owing to a technological failure) was much different from the novel Roadside Picnic in regard to plot, character names, location, and many other features; therefore, the final film version of the script was also the work of Tarkovsky. Based on a sci-fi novel, the film extends far beyond the limits of this genre, and its artistic discoveries are not fully explained by the specificities of the parable genre, as the film was defined by critics. In Stalker, the last film made by Tarkovsky in the USSR, the work of adaptation is mostly replaced by the difficult and sometimes painful process of creating an author’s version of art cinema. -
Dear Friends! on Behalf of Ministry of Culture of the Russian Federation I
ƒÓÓ„Ë ‰ÛÁ¸ˇ! Dear friends! ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ –ÓÒÒËÈÒÍÓÈ On behalf of Ministry of Culture of the Russian ‘‰‡ˆËË ÔÓÁ‰‡‚Ρ˛ ‚‡Ò Ò Ì‡˜‡ÎÓÏ ‡·ÓÚ˚ Federation I would like to congratulate you all on 19-„Ó ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ the opening of the 19-th Open Russian Film "üËÌÓÚ‡‚". Festival "Kinotavr". ‘ÂÒÚË‚‡Î¸ ‚ —Ó˜Ë ‚Ò„‰‡ ·˚Î Ò‡Ï˚Ï ˇÍËÏ, The Festival in Sochi has always been the most Ò‡Ï˚Ï ÓÊˉ‡ÂÏ˚Ï, Ò‡Ï˚Ï Î˛·ËÏ˚Ï vivid, most anticipated, most admired and most Ô‡Á‰ÌËÍÓÏ Ë ÒÓ·˚ÚËÂÏ Ì‡ˆËÓ̇θÌÓ„Ó ÍËÌÓ. celebrated event for national cinema. But it is Œ‰Ì‡ÍÓ ËÏÂÌÌÓ ÚÂÔ¸, ̇ ‚ÓÎÌ ‡Òˆ‚ÂÚ‡ only now when domestic film industry is ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓËÒÍÛÒÒÚ‚‡, "üËÌÓÚ‡‚" blooming, "Kinotavr" has become the main ÒÚ‡ÌÓ‚ËÚÒˇ „·‚ÌÓÈ ÔÓÙÂÒÒËÓ̇θÌÓÈ professional platform for the first-night showings, Ô·ÚÙÓÏÓÈ ‰Îˇ ÔÂϸÂÌ˚ı ÔÓÒÏÓÚÓ‚, meetings and discussions for all creative ‚ÒÚ˜ Ë ‰ËÒÍÛÒÒËÈ ‚ÒÂı Ú‚Ó˜ÂÒÍËı ÔÓÍÓÎÂÌËÈ generations of Russian cinematographers. ÓÒÒËÈÒÍËı ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚. Participation in festival's programme is already an ”˜‡ÒÚË ‚ ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏ "üËÌÓÚ‡‚‡" achievement, already success for every creative Ò‡ÏÓ ÔÓ Ò· ˇ‚ΡÂÚÒˇ ÛÒÔÂıÓÏ ‰Îˇ ÒÓÁ‰‡ÚÂÎÂÈ person in our film industry. To win at "Kinotavr" ͇ʉÓÈ ËÁ ‚˚·‡ÌÌ˚ı ÎÂÌÚ. œÓ·Â‰‡ ̇ beyond doubt means to receive the best ever proof "üËÌÓÚ‡‚Â" ÒÚ‡ÌÓ‚ËÚÒˇ ·ÂÒÒÔÓÌ˚Ï of innovation and craftsmanship and excellence. -
Cinematic Taganrog
Alexander Fedorov Cinematic Taganrog Moscow, 2021 Fedorov A.V. Cinematic Taganrog. Moscow: "Information for all", 2021. 100 p. The book provides a brief overview of full–length feature films and TV series filmed in Taganrog (taking into account the opinions of film critics and viewers), provides a list of actors, directors, cameramen, screenwriters, composers and film experts who were born, studied and / or worked in Taganrog. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 2 Table of contents Introduction ……………………………………………………………………………………… 4 Movies filmed in Taganrog and its environs ………………………………………….. 5 Cinematic Taganrog: Who is Who…………………………….…………………………. 69 Anton Barsukov: “How I was filming with Nikita Mikhalkov, Victor Merezhko and Andrey Proshkin.………………………………………………… 77 Filmography (movies, which filmed in Taganrog and its surroundings)…… 86 About the Author……………………………………………………………………………….. 92 References ………………………………………………………………………………………… 97 3 Introduction What movies were filmed in Taganrog? How did the press and viewers evaluate and rate these films? What actors, directors, cameramen, screenwriters, film composers, film critics were born and / or studied in this city? In this book, for the first time, an attempt is made to give a wide panorama of nearly forty Soviet and Russian movies and TV series filmed in Taganrog and its environs, in the mirror of the opinions of film critics and viewers. Unfortunately, data are not available for all such films (therefore, the book, for example, does not include many documentaries). The book cites articles and reviews of Soviet and Russian film critics, audience reviews on the Internet portals "Kino –teater.ru" and "Kinopoisk". I also managed to collect data on over fifty actors, directors, screenwriters, cameramen, film composers, film critics, whose life was associated with Taganrog. -
Katalog Web.Pdf
Генеральный партнер: Партнеры: 10–15 декабря 2016 года, Москва ОРГАНИЗАТОРЫ ФЕСТИВАЛЯ FESTIVAL ORGANIZERS ГИЛЬДИЯ КИНОРЕЖИССЕРОВ РОССИИ THE FILM DIRECTORS GUILD OF RUSSIA МИНИСТЕРСТВО КУЛЬТУРЫ РОССИЙСКОЙ ФЕДЕРАЦИИ MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION СОЮЗ ЖУРНАЛИСТОВ РОССИИ RUSSIAN UNION OF JOURNALISTS Генеральный партнер Фестиваля General partner of the Festival ФОНД МИХАИЛА ПРОХОРОВА MIKHAIL PROKHOROV FOUNDATION СОВМЕСТНАЯ ПРОГРАММА РОССИЙСКОЙ ФЕДЕРАЦИИ JOINT RUSSIA-OHCHR PROJECTS UNDER И УПРАВЛЕНИЯ ВЕРХОВНОГО КОМИССАРА THE FRAMEWORK FOR COOPERATION ПО ПРАВАМ ЧЕЛОВЕКА (УВКПЧ ООН) УПРАВЛЕНИЕ ВЕРХОВНОГО КОМИССАРА ООН UNITED NATIONS HIGH COMMISSIONER ПО ДЕЛАМ БЕЖЕНЦЕВ (УВКБ ООН) FOR REFUGEES (UNHCR) ПРОГРАММНЫЙ ОФИС СОВЕТА ЕВРОПЫ В РФ COUNCIL OF EUROPE PROGRAMME OFFICE IN THE RUSSIAN FEDERATION ПОСОЛЬСТВО КОРОЛЕВСТВА НИДЕРЛАНДОВ В РФ EMBASSY OF THE KINGDOM OF THE NETHERLANDS TO THE RF ПОСОЛЬСТВО КАНАДЫ В РФ EMBASSY OF CANADA IN THE RUSSIAN FEDERATION БЮРО МЕЖДУНАРОДНОЙ ОРГАНИЗАЦИИ BUREAU OF THE INTERNATIONAL ORGANIZATION ПО МИГРАЦИИ (МОМ) В МОСКВЕ FOR MIGRATION (IOM) IN MOSCOW МОСКОВСКАЯ ГИЛЬДИЯ АКТЕРОВ ТЕАТРА И КИНО THE MOSCOW GUILD OF THEATRE AND CINEMA ACTORS Уважаемые друзья! Dear friends! Искренне рад приветствовать участников и гостей XXII Международного фести- I am genially glad to greet the participants and guests of the XXII International Film валя фильмов о правах человека «Сталкер»! Festival on Human Rights “Stalker”! Язык кино понятен и знаком каждому. Регулярно проводящийся фестиваль The language of cinema is known and clear to everyone. Regularly held festival “Stalk- «Сталкер» является одним из наиболее ярких событий общественно-культурной er” is one of the brightest events in Moscow social and cultural life. It has long become жизни Москвы и давно стал уникальной возможностью говорить о правах чело- a unique opportunity to speak about human rights in understandable for wide viewer audi- века на доступном для широкой зрительской аудитории языке. -
The Author and the Magician Fusing Historical ‘Mysticism’ with Contemporary Cinema in Bortko’S Master & Margarita Troy Arnold
The Author and the Magician Fusing Historical ‘Mysticism’ with Contemporary Cinema in Bortko’s Master & Margarita Troy Arnold Department of Russian and Slavic Studies University of Arizona Tucson, AZ From the archive section of The Master and Margarita http://www.masterandmargarita.eu Webmaster Jan Vanhellemont Klein Begijnhof 6 B-3000 Leuven +3216583866 +32475260793 “Что бы делало твоё добро, если бы не существовало зла. И как бы выглядела земля, если бы с нее исчезли тени?” I. Introduction That Mikhail Bulgakov’s seminal novel Master & Margarita enjoys a vaunted status in Russian society is to significantly understate its influence. For all intensive purposes, the novel is a sine qua non of Russian literature and culture as a whole, standing shoulder to shoulder with the great masterworks of Pushkin, Gogol, Dostoevsky, Tolstoy, and all those who followed. The main difference is its relatively lesser stature on the stage of world literature vis-à-vis those works. The reasons for this are likely dual: politically, it remains, arguably, the greatest Soviet novel; and culturally, it is exquisitely ‘Russian’, and thus difficult to grasp on any level deeper than superficial for a foreign reader. The novel is, then, a relatively well-kept secret outside of Russia. However, inside Russia, it retains its force as a cultural phenomenon, as evidenced by the recent references in the Russian media to its ‘mystic fame’ and the great anticipation of Vladimir Bortko’s adaptation of the story as a television mini-series. Simply put, to not understand the phenomenon is to not understand Russian culture. While the rest of the world was observing yuletide tradition and preparing for New Year’s celebrations, Russians were tuning into their televisions en masse . -
Opinions of Film Critics and Viewers
Alexander Fedorov 100 most popular Soviet television movies and TV series: opinions of film critics and viewers Moscow, 2021 Fedorov A.V. 100 most popular Soviet television movies and TV series: opinions of film critics and viewers. Moscow: "Information for all", 2021. 144 p. What does the list of the hundred most popular Soviet television films and TV series look like? How did the press and viewers evaluate and rate these films? In this monograph, for the first time, an attempt is made to give a panorama of the hundred most popular Soviet television films and serials in the mirror of the opinions of film critics, film critics and viewers. The monograph is intended for high school teachers, students, graduate students, researchers, film critics, film experts, journalists, as well as for a circle of readers who are interested in the problems of cinema, film criticism and film sociology. Reviewer: Professor M.P. Thselyh. © Alexander Fedorov, 2021. 2 TABLE OF CONTENTS Introduction ………………………………….................................................................................... 4 100 most popular Soviet television movies and TV series: opinions of film critics and viewers ……………………………........................................................................................... 5 Interview on the release of the book "One Thousand and One Highest Grossing Soviet Movie: Opinions of Film Critics and Viewers"…………………………………………………………….. 119 List of "100 most popular Soviet television films and TV series.......................................... 125 About -
Мудрость Внутреннего Голоса Wisdom of Inner Voice
ХРОНОГРАФ CHRONOGRAPH Мудрость внутреннего голоса Анна ЧЕПУРНОВА СчаСтливое СвойСтво великих – умение почувСтвовать Своё призвание и Следовать ему в Самых неподходящих для этого обСтоятельСтвах. Многие Считали, что АлиСа Коонен губит Себя, покидая ХудожеСтвенный театр ради работы С малоизвеСтным тогда режиссёром АлекСандром Таировым. От Студии Евгения вахтангова тоже не ждали оСобого уСпеха. А пятиклассника олега Ефремова, в СталинСкие годы заявившего в школе, что у него будет Свой театр, учительница и вовСе не поняла: «ты хочешь быть артиСтом?» ДейСтвительно, о каком «Своём» театре могла идти речь в конце 1930‑х в СССр? Но прошло время – и окружающие убедилиСь в правоте Коонен, Вахтангова 24.09.1782 09.10.1859 03.11.1866 235 лет назад 158 лет назад 151 год назад и ефремова, которые шли против течения. КОМЕДИЯ «НЕДОРОСЛЬ» АЛЕКСАНДР ОСТРОВСКИЙ РОДИЛАСЬ АЛЕКСАНДРА ВПЕРВЫЕ ПОКАЗАНА ЗАВЕРШИЛ ДРАМУ «ГРОЗА» ЯБЛОЧКИНА НА СЦЕНЕ В ВОЛЬНОМ isdom of nner oice РОССИЙСКОМ ТЕАТРЕ Над этой пьесой драматург Её родителями были актёры W i V работал около трёх Александр и Серафима Anna CHEPURNOVA Денис Фонвизин закончил месяцев. Созданию «Грозы» Яблочкины. В первый раз писать «Недоросля» предшествовало путешествие на сцену девочка вышла в начале 1782 года. Цензоры Островского по Волге, в шесть лет в спектакле, THE HAPPY QUALITY OF THE GREAT IS THE ABILITY TO SEE THEIR VOCATION в петербургских и московских во время которого он имел поставленном приятелем её and follow it under the most unsuitable circumstances. Many people театрах не сразу приняли возможность наблюдать отца. Неудивительно, что, эту остросатирическую пьесу. за бытом и характерами став взрослой, Александра BELIEVED THAT ALICE KOONEN WAS RUINING HERSELF BY LEAVING THE ART Автор добивался её постановки русской провинции. -
Remembering in Public: on the Affective Management of History*
Ab Imperio, 1/2013 Serguei Alex. OUSHAKINE REMEMBERING IN PUBLIC: ON THE AFFECTIVE MANAGEMENT OF HISTORY* Collective memory is not what historians say about the past. … Professional history matters, to be sure, but only to a small population. Collective remembrance is a set of acts which go beyond the limits of the professionals. These acts may draw from professional history, but they do not depend on it. Jay Winter and Emmanuel Sivan, “Setting the Framework” (1999).1 In general, any genuine democracy strives natu- rally towards popular festivals. Democracy presup- poses the free life of the masses. In order for the masses to make themselves felt, they must outwardly manifest themselves, and this is possible only when, * During 2010–2012, I presented earlier versions of this article at seminars and conferences at the University of Virginia, the University of Bremen, the Stockholm University, the Irkutsk State University, European University in St. Petersburg, and the Moscow Higher School of Economic and Social Sciences. I want to thank participants of these events for their comments, questions, and suggestions. I also want to thank Tsypylma Darieva, Ilya Gerasimov, Marina Mogilner, Steve Norris, Kevin Platt, and anonymous reviewers of Ab Imperio for their critique and help with shaping the argument. 1 Jay Winter and Emmanuel Sivan. Setting the Framework // J. Winter and E. Sivan (Eds.). War and Remembrance in the Twentieth Century. Cambridge, 1999. P. 8. 269 Serguei Alex. Oushakine, Remembering in Public to use Robespierre’s phrase, they are their own spec- tacle. …This celebration should be organized just as anything else in the world that has a tendency to produce a profound aesthetic impression.