DOCSLIB.ORG

Download Press

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Press Father and Son directed by Alexander Sokurov F ather and Son directed by Alexander Sokurov with Andrey Shchetinin and Aleksey Neymyshev screenplay Sergey Potepalov director of photography Alexander Burov editor Sergey Ivanov art directorNatalya Kochergina composer A n d r e y S i g l e , music based on themes by Peter Tchaikovsky costume designer B e r nadette Corstens make-up artist Z hanna Rodionova sound designer Sergey Moshkov producer T homas Kufus production z e r o f i l m in co-production with L u men Films, Nikola-Film, Mikado Film and Isabella Films in cooperation with L e n f i l m , St. Petersburg with support from M i n i s t r y o f C u l t u r e o f the Russian Federation, Filmboard Berlin-Brandenburg, Filmstiftung Nordrhein-Westfalen, Centre National de la Cinématographie, Dutch Filmfund and Fondazione MonteCinemaVerità »She said we built a Fortress – That we don’t let anyone inside« c olor – 84 min – 35 mm – 1,66 – Dolby SRD – 2003 world sales Celluloid Dreams 2 rue Turgot F 75009 Paris T (+33-1) 4970-0370 F (+33-1) 4970-0371 [email protected] www.celluloid-dreams.com Cannes: Grand Hôtel Dauphin 7D T (+33-4) 9399-8470 F (+33-4) 9399-8471 international press Richard Lormand / Viviana Andriani Father and Son www.filmpressplus.com [email protected] directed by Alexander Sokurov Cannes: (May 14–25) T (+33-6) 2416-3731 F (+33-4) 9368-9745 S ynopsis The Story of a Family Father and Son live together in a rooftop apartment. They have lived A small family – a father and a son – lives on the top floor of an old alone for years in their own private world, full of memories and daily house. rituals. Sometimes they seem like brothers. Sometimes even like lovers. The father retired from the military, leaving his beloved air regiment. Following in his father’s footstops, Alexei attends military school. He ended his military career not of his own wishes – circumstances He likes sports, tends to be irresponsible and has problems with his forced him to. A former participant in military actions, now he has girlfriend. She is jealous of Alexei’s close relationship with his father. been transferred to the reserve as he begins middle age. When he was Despite knowing that all sons must one day live their own lives, a student in flight school, he experienced the first and the only love of Alexei is conflicted. his life. This girl became his wife and she gave birth to his son. Both of them were twenty years old then. The wife died when she was young. Alexei’s father knows he should maybe accept a better job in another This love remained his secret unique happiness. city, maybe search for a new wife. But who will ease the pain of Alexei’s nightmares? The son grew up, and he will probably be a military man like his father. The son’s features constantly remind the father of his wife. He doesn’t Never has love between a father and son been so strong. separate his son from his still persisting love: this is his unity with his beloved woman. The father cannot imagine his life without his son. The son loves his father devotedly and deeply, a filial feeling intensified by an instinctive moral responsibility that is being tested by life. »Whisper your Fears to running Water« Their love is almost of mythological virtue and scale. It cannot happen in real life. It’s the incarnation of a fairy-tale. Alexander Sokurov Father and Son Father and Son directed by Alexander Sokurov directed by Alexander Sokurov Alexander Sokurov director Features Documentaries and Shorts Sergei Potepalov Screenwriter Alexander Sokurov’s unique style has been credited to the visual splendor, 1978 The Lonely Voice of Man 1978 Maria 40 min. Sergei Potepalov wrote and directed 1990’s A Cry for Help hermetic intensity and sense of suspended time found with in his 1983 P ainful Indifference 1979 Sonata for Hitler 10 min. (winner of the Russia’s »Golden Fleece« prize), 1985’s Hearsay/ films. With over 30 features, documentaries and shorts to date, Sokurov 1988 D a y s o f E c l i p s e 1980 The Degraded P odslushannij Rasgover and 1980’s Stranger’s Company. has dedicted his life to his own personal search for a cinematographic 1989 S a v e and Protect 1981 Sonata for Viola Dmitry Shostakovich Potepalov is also the screenwriter of the 1970’s science fiction series language to communicate the fundamentals of human experience. 1990 S e c ond Circle 90 min. »The Failure of Engineer Garin« for Russian television. Potepalov 1992 S t one 1982 And Nothing More 70 min. attended Moscow Film School after graduating in Philology from Sokurov made his first feature film, The Lonely Voice of Man, 1993 W hispering Pages 1984 Evening Sacrifice 20 min. Leningrad State University. in 1978 as his graduation project from the Moscow Film School (VGIK). 1996 Mother and Son 1985 Patience Labour 10 min. The film was rejected by the school, as well as the Soviet government. 1999 Moloch 1985 Elegie 30 min. This was also the case for all the numerous films he made at the 2000 Ta u r u s 1986 Moscow Elegy 88 min. Leningrad Documentary Film Studios. For nearly 10 years, Sokurov’s 2001 R u s s i a n A r k 1987 The Empire Style 40 min. Alexander Burov Director of Photography films were banned in the then-Soviet Union. With support from the 2002 Father and Son 1989 Petersburg Elegy 40 min. late (and then-exiled) cinema master Andrei Tarkowski, Sokurov’s films 1989 Soviet Elegy 40 min. Alexander Burov previously collaborated with Alexander Sokurov on were eventually granted screening permission in 1986. 1990 To the Events in the Transcaucasian his features Whispering Pages and The Second Circle, Region 10 min. as well as the short and medium-length films K amen/Stone, A St. Petersburg resident, Sokurov was born in Siberia in 1951. Because 1990 A Simple Elegy 30 min. An Example of Intonation, Evening Sacrifice, of his military father, he spent much of his childhood in Poland and 1990 A Retrospection of Leningrad And Nothing More, Maria/Peasant Elegy, Elegy Turkistan. He studied history at the University of Gorky before atten- (1957 – 1990) 788 min. from Russia and The Moscow Elegy. Burov received a ding film school. 1991 An Example of Intonation 48 min. 2000 European Film Awards nomation for his cinematography on 1993 Elegy from Russia 68 min. Pavel Lungin’s The Wedding. Burov’s other credits include 1995 Spiritual Voices 327 min. Vladimir Maslov & Yevgeni Yufit's Silver Heads,Yevgeni Yufit’s 1996 Oriental Elegy 45 min. P apa, Santa Claus is dead and Warriors of Heaven. 1996 Hubert Robert. Burov is a 198s graduate of the Russian State Institute of A Fortunate Life 26 min. Cinematography. 1997 A Humble Life 75 min. 1997 A Petersburg Diary. The Opening of the Dostoyevsky Monument 45 min. 1998 A Petersburg Diary. The Kozintsev Apartment 52 min. 1998 Confession 260 min. 1998 The Knot 90 min. Father and Son 1998 Dialogues with Solzhenitsyn 104 min. Father and Son directed by Alexander Sokurov 1999 Dolce 61 min. directed by Alexander Sokurov 2001 Elegy of a Voyage 90 min. Alexander Sokurov’s Father and Son is the second film of his planned trilogy dedicated to the drama of human relations. As well as in the first film, Mother and Son, the director recreates the environment of a parable. This parable has neither a beginning nor an end. There are no temporal or topographic landmarks. It is possible to lose one’s way in the time period and landscapes, are vary in the film. This is what happens to the Son in a dream sequence, looking no bigger than a finger in a familiar, but still strange forest. A soldier’s uniform is seen in the latest style, while women’s dresses and hairstyles are of the 40s, 50s and 60s. Roofs and narrow streets of an old northern town can be seen under a bright southern sun. The film takes place against this collective landscape. The film flows nearly unnoticeably through interiors where the mode of life is conventional, but hardly typical: a table, a bed, flowers. The only signs are symbols of a human dwelling. The faces of the film’s characters are striking and very contemporary. Non-professional performers play the main roles. »A Soldier should not fear« The son who grew up without a mother found everything in his father’s love – cradle, home, school and harbor. Now young manhood calls him to the open sea of life. Torn between interest in his father’s past and unhappy love (his girlfriend left him for another man) are left unresolved. The son’s worries are felt by the still youthful father, break- ing their world into two. This world was once indivisible for them. From now on, father and son will have their individual lives to come together again sometime in the future. Alexander Sokurov plans to shoot Two Brothers and a Sister to finish his family trilogy. »I’m starting to forget your face.« Alexandra Tuchinskaya Father and Son Father and Son directed by Alexander Sokurov directed by Alexander Sokurov F ather and Son directed by Alexander Sokurov father A n d r e y Shchetinin son Aleksey Neymyshev sasha Alexander Razbash fedor F edor Lavrov girl M a r i n a Z asukhina director Alexander Sokurov screenplay Sergey Potepalov director of photography Alexander Burov editor Sergey Ivanov art directorNatalya Kochergina composer A n d r e y S i g l e , music based on themes by Peter Tchaikovsky costume designer B e r nadette Corstens make-up artist Z hanna Rodionova sound designer Sergey Moshkov assistant director Tamara Agadzhanyan casting Ta t y ana Komarova international production coordinator M a r ina Koreneva production manager – russia E duard Artsikhovsky line producer Claudia Spiller commissioning editor WDR S a bine Rollberg producer T homas Kufus co-producers Hengameh Panahi, Igor Kalenov, Luigi Musini, Roberto Cicutto, Els Vandevorst, Ineke van Wierst production z e r o f i l m in co-production with L u m e n F i l m s , N i k ola-Film, Mikado Film and Isabella Films in cooperation with L e n f i l m , St.
Load more

Recommended publications
  • World Competition
    El Cuento de las Comadrejas - The Weasel's Tale 2019 | 129' | Spanish | Argentina | Spain | Colour Opening Film Director: Juan José Campanella Producer: Juan José Campanella, Gerardo Herrero, Axel Kuschevatzky Cast: Clara Lago, Oscar Martínez, Graciela Borges Screenplay: Juan José Campanella, Darren Kloomok Cinematographer: Félix Monti Editor: Juan José Campanella A beautiful star from the cinema Golden Age, an actor in the Sound Designer: José Luis Díaz twilight of his life, a witty scriptwriter and a cunning director Music Composer: Emilio Kauderer live together in a mansion where they have created an unusual environment. The arrival of a young couple seeking to Costume Designer: Cecilia Monti persuade the actress to sell the house, forces the other Production Designer: Nelson Noel Luty inhabitants to come together and conspire to prevent it. Production Company: 100 Bares, Tornasol, Jempsa World Sales: Latido films World Sales Phone: +34 915 488 877 World Sales Email: [email protected] Festivals: San Sebastian FF 2019, Ventana Sur 2019, IFFI 2019, Valladolid IFF 2019 Juan Jose Campanella (born July 19, 1959) is 2019 The Weasel's Tale an Argentinian film and television director. He 2014 Halt And Catch Fire has won 45 international awards for his work. 2009 The Secret In Their Eyes He is best known for writing and directing The Secret in Their Eyes, which won the Academy 2004 Moon Of Avellaneda Award for Best Foreign Language Picture. 2001 The Son Of The Bride Campanella mostly works on films in his native Argentina, and on television projects in the United States, where he went to film school.
    [Show full text]
  • Cultural Heritage, Cinema, and Identity by Kiun H
    Title Page Framing, Walking, and Reimagining Landscapes in a Post-Soviet St. Petersburg: Cultural Heritage, Cinema, and Identity by Kiun Hwang Undergraduate degree, Yonsei University, 2005 Master degree, Yonsei University, 2008 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kiun Hwang It was defended on November 8, 2019 and approved by David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Mrinalini Rajagopalan, Associate Professor, University of Pittsburgh, Department of History of Art & Architecture Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Dissertation Advisor: Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Kiun Hwang 2019 Abstract iii Framing, Walking, and Reimagining Landscapes in a Post-Soviet St. Petersburg: Cultural Heritage, Cinema, and Identity Kiun Hwang, PhD University of Pittsburgh, 2019 St. Petersburg’s image and identity have long been determined by its geographical location and socio-cultural foreignness. But St. Petersburg’s three centuries have matured its material authenticity, recognizable tableaux and unique urban narratives, chiefly the Petersburg Text. The three of these, intertwined in their formation and development, created a distinctive place-identity. The aura arising from this distinctiveness functioned as a marketable code not only for St. Petersburg’s heritage industry, but also for a future-oriented engagement with post-Soviet hypercapitalism. Reflecting on both up-to-date scholarship and the actual cityscapes themselves, my dissertation will focus on the imaginative landscapes in the historic center of St.
    [Show full text]
  • Russian Cinema Now, an 11-Film Showcase of Contemporary Films, May 31— Jun 13
    BAMcinématek presents the 30th anniversary of Andrei Tarkovsky’s Nostalghia for two weeks in a new 35mm print, alongside Russian Cinema Now, an 11-film showcase of contemporary films, May 31— Jun 13 In association with TransCultural Express: American and Russian Arts Today, a partnership with the Mikhail Prokhorov Fund to promote cultural exchange between American and Russian artists and audiences Three North American premieres, three US premieres, and special guests including legendary Fugees producer John Forté and friends and acclaimed directors Sergei Loznitsa and Andrey Gryazev The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/May 10, 2013—From Friday, May 31 through Thursday, June 13, BAMcinématek presents a two-week run of Russian master Andrei Tarkovsky’s Nostalghia in a new 35mm print for its 30th anniversary, alongside Russian Cinema Now, a series showcasing contemporary films with special guests and Q&As. Both programs are part of TransCultural Express: American and Russian Arts Today, a collaborative venture to promote cultural exchange and the Mikhail Prokhorov Fund’s inaugural artistic alliance with a US performing arts institution. For more information on TransCultural Express, download the program press release. A metaphysical exploration of spiritual isolation and Russian identity, Tarkovsky’s (Solaris, Stalker) penultimate film Nostalghia (1983) follows Russian expat and misanthropic poet Andrei (Oleg Yankovsky, The Mirror) as he travels to Italy to conduct research on an 18th-century composer. In the course of his study, he is overcome by melancholy and a longing for his home country—a sentiment reflective of the exiled Tarkovsky’s own struggle with displacement, this being his first film made outside of the USSR (the film’s Italian title translates as “homesickness”).
    [Show full text]
  • Tarkovsky Is for Me the Greatest, the One Who Invented a New Language, True to the Nature of Film As It Captures Life As a Reflection, Life As a Dream.”
    stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press Curzon Mayfair 38 Curzon Street 7 – 13 DECEMBER London W1J Features £10/£8 Curzon Members; www.curzoncinemas.com Documentaries £6.50 Box Office: 0871 7033 989 TARKOVSKY FESTIVAL – A RETROSPECTIVE As part of the celebration of the 75th Anniversary of one of the undisputed masters of world cinema, Andrei Tarkovsky (1932 – 1986), Curzon Cinemas and Artificial Eye present screenings of his feature films, documentaries about him, and the reading of a stage play related to his work. Most screenings will be introduced by an actor or member of the crew, followed by a Q&A. Related activities will take place across the capital. “Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film as it captures life as a reflection, life as a dream.” Ingmar Bergman FRI 7 DECEMBER 7PM OPENING GALA PLUS Q&A: THE SACRIFICE (PG) – NEW PRINT Director: Andrei Tarkovsky / Starring: Erland Josephson, Susan Fleetwood, Gudrun Gisladottir / Russia 1986 / 148 mins / Russian with English subtitles Tarkovsky's final film unfolds in the hours before a nuclear holocaust. Alexander is celebrating his birthday when a crackly TV announcement warns of imminent nuclear catastrophe. Alexander makes a promise to God that he will sacrifice all he holds dear, if the disaster can be averted. The next day dawns and everything is restored to normality, but Alexander must now keep his vow. We hope to welcome on stage lead actress Gudrun Gisladottir, and Layla Alexander-Garrett, the interpreter on THE SACRIFICE.
    [Show full text]
  • The Remaining Second World Sokurov and Russian
    The Remaining Second World: Sokurov and Russian Ark 1/20/09 8:08 PM contents great directors cteq annotations top tens about us links archive search The Remaining Second World: Sokurov and Russian Ark by Benjamin Halligan Benjamin Halligan's critical biography of Michael Reeves will be published by Manchester University Press in June. He is currently completing a study of European New Wave films. “Sir, [the Russians] have two expressions (I am not speaking of the lackeys who have only one; I am speaking of the nobles). When they come through here on the way to Europe they have a gay, free, happy air. They are like horses turned to pasture, like birds who have flown the cage – men, women, young, old, all are as happy as school children on a holiday. The same people, on their return have long, gloomy, tormented faces; they have a worried look. Their conversation is brief and their speech abrupt. I have concluded from this difference that a country which one leaves with so much joy and returns to with so much regret is a bad country.” “Perhaps you are right,” I reply, “but your observations prove that the Russians are not as deceptive as one paints them. I thought they were more inscrutable.” – The Marquis de Custine, 1839 (1) There is a perverse, contrarian impulse at the heart of Aleksandr Sokurov's new film, Russkij Kovcheg (Russian Ark, 2002). Initially this is manifested in the way in which Russian Ark is patently unlike all other films. But even this base level of difference is only one aspect of the experience of seeing Russian Ark – which is the experience of encountering something genuinely new in itself.
    [Show full text]
  • FRANCOFONIA a Film by Alexander Sokurov
    presents FRANCOFONIA A film by Alexander Sokurov 87 min | France/Germany/Netherlands | 2015 | Not Rated | Dolby 5.1 In French, Russian and German with English subtitles Official Website: http://www.musicboxfilms.com/francofonia Press Materials: http://www.musicboxfilms.com/francofonia-press New York/National Press Contacts: Sophie Gluck & Associates Sophie Gluck: [email protected] | 212-595-2432 Aimee Morris: [email protected] | 212-595-2432 Music Box Films Contacts Marketing & Publicity Yasmine Garcia | [email protected] | 312-508-5362 Theatrical Booking Brian Andreotti | [email protected] | 312-508-5361 Exhibition Materials Lindsey Jacobs | [email protected] | 312-508-5365 FESTIVALS AND AWARDS Opening Night Selection – First Look Festival (Museum of the Moving Image) Official Selection – Venice Film Festival Winner, Fedeora Award – Venice Film Festival Official Selection – BFI London Film Festival Official Selection – Toronto International Film Festival Official Selection – San Sebastian Film Festival Official Selection – Reykjavik International Film Festival Official Selection – Thessoloniki International Film Festival SYNOPSIS Set against the backdrop of the Louvre Museum’s history and artworks, master director Alexander Sokurov (Russian Ark) applies his uniquely personal vision onto staged re-enactments and archives for this fascinating portrait of real-life characters Jacques Jaujard and Count Franziskus Wolff-Metternich and their compulsory collaboration at the Louvre Museum under the Nazi Occupation. These two remarkable men - enemies then collaborators - share an alliance which would become the driving force behind the preservation of museum treasures. In its exploration of the Louvre Museum as a living example of civilization, FRANCOFONIA is a stunning and urgently relevant meditation on the essential relationship between art, culture, and history.
    [Show full text]
  • Cinema Guild Russia and East Europe Brochure
    TF 800 723 5522 P 212 685 6242 F 212 685 4717 EMAIL [email protected] 800 723 5522 P 212 685 6242 F 212 685 4717 EMAIL [email protected] THE CINEMA GUILD TWITTER/PINTEREST @CGEDUCATIONAL ACCLAIMED AND AWARD-WINNING DOCUMENTARIES FOR Russian & Eastern European Studies Also by Sergei Loznitsa: NEW RUSSIA IN TRANSITION Series 2006, four DVDs, varying running times Purchase of complete set: $599 $539.10 “Highly recommended. A masterpiece! A bril- liant and evocative look at how Russian life is changing.” —Educational Media Reviews Online “These works of documentary art, either individu- ally or as a set, would be most useful in classes on Soviet and Russian film or cinema history and theory.” —Slavic Review Vol. 1: FACTORY 30 minutes MAIDAN A meticulous study of a steel and clay factory in the Urals, Factory takes the viewer on a visually mes- Directed by Sergei Loznitsa merizing tour through the belly of an old Soviet 2014, 131 minutes industrial plant. Purchase: $395 $355.50 | Classroom Rental: $125 Vol. 2: PORTRAIT “A vital and urgent film.” Directed by acclaimed filmmaker Sergei Loznitsa, 28 minutes —The Guardian Maidan chronicles the civil uprising that toppled the A meditation on old and new Russia, Portrait cap- government of Ukrainian president Victor Yanukovich “An impressive, bold treatment of a complex sub- tures a people, and a world, that is quickly vanishing. and has since developed into an international crisis ject. One of the few documentaries about a recent between Russia and the West. Maidan is a record of revolution that won’t feel dated in five years.” —Variety a momentous historical event and an extraordinary Vol.
    [Show full text]
  • Cannes 2001 Report
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Waterloo Library Journal Publishing Service (University of Waterloo, Canada) Cannes 2001 Report By Ron Holloway Fall 2001 Issue of KINEMA CANNES INTERNATIONAL FILM FESTIVAL 2001 Two events devotee of made the 54th Festival International du Film (9-20 May 2001) particularly memorable. The first was the news that, after 22 years as délégué général, Gilles Jacob stepped up to become Président while handing down the reins to Thierry Frémaux, the latter now divides his time between Cannes and duties as head of the Institute Lumière in Lyons. The other was the presence on the Croisette of seven previous Palme d’Or directors: Francis Ford Coppola (The Conversation, 1974, and Apocalypse Now, 1979), Ermanno Olmi (The Tree of Wooden Clogs, 1978), Shohei Imamura (The Ballad of Narayama, 1983, and The Eel, 1997), David Lynch (Wild at Heart, 1990), Joel and Ethan Coen (Barton Fink, 1991), and Abbas Kiarostami (The Taste of Cherries, 1997). One might add, too, that over the past quarter century each of their eight award-winning films helped considerably to set the tone and style of the world’s mostrevered film festival. Apocalypse Now Redux In the case of Apocalypse Now -- aka Apocalypse Now Redux, to denote a new version of an old film -- Francis Ford Coppola returned to Cannes with the completed version of his work-in-progress presented here 22 years ago. No less than 53 minutes were added to the re-edited 203-minute version, in addition to a re-mastered Technicolor transfer and a re-mastered soundtrack.
    [Show full text]
  • NARRATIVES of NOTHING in TWENTIETH-CENTURY LITERATURE by MEGHAN CHRISTINE VICKS B.A., Middlebury College, 2003 M.A., University of Colorado, 2007
    NARRATIVES OF NOTHING IN TWENTIETH-CENTURY LITERATURE by MEGHAN CHRISTINE VICKS B.A., Middlebury College, 2003 M.A., University of Colorado, 2007 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Comparative Literature 2011 This thesis entitled: Narratives of Nothing in Twentieth-Century Literature written by Meghan Christine Vicks has been approved for the Department of Comparative Literature _________________________________________________ Mark Leiderman _________________________________________________ Jeremy Green _________________________________________________ Rimgaila Salys _________________________________________________ Davide Stimilli _________________________________________________ Eric White November 11, 2011 The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned disciple. iii Vicks, Meghan Christine (Ph.D., Comparative Literature) Narratives of Nothing in Twentieth-Century Literature Thesis directed by Associate Professor Mark Leiderman (Lipovetsky) This study begins with the observation that much of twentieth-century art, literature, and philosophy exhibits a concern with nothing itself. Both Martin Heidegger and Jean Paul Sartre, for example, perceive that nothing is part-and-parcel of (man’s) being. The present study adopts a similar position concerning nothing and its essential relationship to being, but adds a third element: that of writing narrative. This relationship between nothing and narrative is, I argue, established in the writings of Friedrich Nietzsche, Mikhail Bakhtin, Jacques Derrida, and Julia Kristeva. As Heidegger and Sartre position nothing as essential to the creation of being, so Nietzsche, Bakhtin, Derrida, and Kristeva figure nothing as essential to the production of narrative.
    [Show full text]
  • Winter Series Art Films and Events January February Filmmarch Film
    Film Program Winter 2008 National Gallery of Art, Washington Winter Series film From the Archives: 16 at 12 England’s New Wave, 1958 – 1964 István Szabó’s 20th Century Alexander Sokurov In Glorious Technicolor Art Films and Events This Sporting Life (Photofest) 19 Sat II March Edward 2:00 England’s New Wave, 1958 – 1964: A Kind of Loving 1 Sat J. M.W. Turner and Film 4:30 England’s New Wave, 1958 – 1964: 2:00 István Szabó’s 20th Century: Mephisto (two-part program) This Sporting Life 4:30 István Szabó’s 20th Century: Colonel Redl 2 Sun The Gates 20 Sun 4:30 England’s New Wave, 1958 – 1964: 4:30 István Szabó’s 20th Century: Hanussen International Festival of Films Saturday Night and Sunday Morning; 4 Tues The Angry Silence on Art 12:00 From the Archives: 16 at 12: The City 22 Tues of Washington Henri Storck’s Legacy: 12:00 From the Archives: 16 at 12: Dorothea 8 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) Belgian Films on Art 3:00 Event: Max Linder Ciné-Concert 26 Sat 9 Sun 2:00 Event: International Festival of Films on Art England’s Finest Hour: 4:30 Alexander Sokurov: The Sun (Solntse) Films by Humphrey Jennings 27 Sun 11 Tues 4:00 Event: International Festival of Films on Art Balázs Béla Stúdió: 1961 – 1970 12:00 From the Archives: 16 at 12: Washington, 29 Tues City with a Plan Max Linder Ciné-Concert 12:00 From the Archives: 16 at 12: Dorothea 15 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) 2:30 Alexander Sokurov: Elegy of Life: Silvestre Revueltas: Music for Film Rostropovich Vishnevskaya February 4:30 Alexander
    [Show full text]
  • Read Ebook {PDF EPUB} the Time Wanderers by Arkady Strugatsky Prominent Russians: Arkady and Boris Strugatsky
    Read Ebook {PDF EPUB} The Time Wanderers by Arkady Strugatsky Prominent Russians: Arkady and Boris Strugatsky. Arkady and Boris Strugatsky are well-known Soviet-Russian science fiction writers with a highly developed fan base. They became the spiritual leaders of Russian sci-fi literature in the 1960s, and to this day, their influence remains immense - entire generations were brought up on their books and loved them for their unique style. Though the early works of the Strugatsky bothers lacked individuality – at the beginning of their writing career their novels and short stories resembled those of Ivan Yefremov, a Soviet paleontologist and science fiction author who was the brothers’ lifetime icon and role model. Strugatsky novels were very different from ordinary sci-fi novels: strictly speaking they didn’t write showpiece science fiction. The brothers have always tried to write not just about spaceships, technology or other fantastic stuff, but also about people and their problems. At the beginning of the 1990s the brothers became the best-known and loved Soviet science-fiction writers abroad – their works were translated into multiple languages and published in 27 countries; a success Russian writers rarely experienced in the West. Arkady Strugatsky. Childhood. Arkady Strugatsky was born on 28 August 1925 in Batumi, Georgia; his mother was a teacher and his father – a fine arts expert, who at the same time earned a bit on the side as a newspaper editor. Two months after the elder son was born, in autumn 1925, the family moved to Leningrad (now Saint Petersburg). When WWII broke out, Arkady first helped constructing defenses and then assisted at the grenade manufactory.
    [Show full text]
  • Aleksandr Sokurov's Days of Eclipse Vs the Strugatskii Brothers
    Loyalty by obfuscation: Aleksandr Sokurov’s Days of eclipse vs the Strugatskii brothers’ A billion years before the end of the world1 Andrei Rogatchevski Abstract. This article seeks to rectify two misconceptions that have been following Aleksandr Sokurov’s award-winning sf film Days of Eclipse (Dni zatmeniia; USSR 1988) almost since its release. The first is reflected in the claim that the film – with its odd mix of enigmatic fictional scenes and documentary footage that would not look out of place on a visual anthropology course – is not only difficult to fathom but downright ‘anti-explicatif’ (Ostria 59).2 The second has been expressed in a statement that Days of Eclipse ‘has altered everything but the names of the principal characters’ (Moskvina 45) in the Strugatskii brothers’ story it has adapted, A Billion Years Before the End of the World (Za milliard let do kontsa sveta, 1976-77; see Strugatskie 1988: 3-148).3 Even Boris Strugatskii himself said of the film that, ‘significant, powerful and sui generis exceptional’ as it may be, it is ‘far removed from both the original book and the last version of the authors’ script’ (Strugatskie 2001: 648). I will argue that there is enough left of the source material in the film to help the viewer make sense of it – especially if the viewer has a prior knowledge of the source material. I will also try to explain why Sokurov has opted for obscuring the Strugatskiis’ message as his book adaptation strategy. Finally, I will attempt to categorise Sokurov’s approach to film adaptation in the context of some of his other films, as well as some Strugatskii-related films by other directors.
    [Show full text]