Paper Soldier
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Umestitev Performansa V Prostor in Primer Pussy Riot V Rusiji Magistrsko Delo
UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Andreja Pahor Umestitev performansa v prostor in primer Pussy Riot v Rusiji Magistrsko delo Ljubljana, 2014 UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Andreja Pahor Mentor: red. prof. dr. Mitja Velikonja Umestitev performansa v prostor in primer Pussy Riot v Rusiji Magistrsko delo Ljubljana, 2014 V prvi vrsti se zahvaljujem red. prof. dr. Mitji Velikonja za strokovne nasvete pri izdelavli magistrskega dela in Jaši Jenull za sodelovanje v intervjuju. Zahvaljujem se še Špeli Pahor za pomoč pri literaturi, Snejani Lachi za pomoč pri prevajanju iz ruščine, Mariani Rodela za pomoč pri prevajanju v angleščino in Vesni Nagoda za lektoriranje magistskega dela. Posebna zahvala gre Danieli Zupan, brez katere moje delo ne bi obstajalo v tiskani obliki. Umestitev performansa v prostor in primer Pussy Riot v Rusiji Performans je subverzivna umetnost, ki odprto kritizira družbeno-politična dogajanja in postavlja pod vprašaj dominantne diskurze – od prevladujočih vrednot in norm do splošno sprejetih definicij, dognanj in praks. V magistrskem delu me je zanimalo, ali je izbira prostora za izvedbo performansa ključna za to, kako bo družbeno kritično sporočilo aktivista razumljeno v širši javnosti ali ne. Da bi odgovorila na raziskovalno vprašanje, sem najprej naredila tekstualno analizo sekundarnih virov, s katero sem dobila splošen okvir za nadaljnje razmišljanje, nato pa sem izvedla študijo primera. Analizirala sem performans skupine Pussy Riot, do katerega je prišlo v moskovski katedrali Kristusa Odrešenika. Z analizo sem želela izvedeti, kako je na umestitev Punk molitve v prostor gledala ruska javnost in kako so nanjo reagirali ljudje po svetu. Ugotovila sem, da sta bili ruska in svetovna javnost enotnega mnenja o neprimernosti sakralnega prostora za izvedbo umetniške akcije, vendar je bilo v Rusiji zaznati večje nerazumevanje motivov, ki so vodili skupino. -
Filmography & Vita Judith Benedikt
FILMOGRAPHY & VITA JUDITH BENEDIKT, AAC Lindengasse 49/1/8 1070 Wien Phone: 004369910895955 Mail: [email protected] „Judith Benedikt’s well-composed lensing is tops“, Variety „The images that flow before our eyes ... are almost like paintings, rigorously composed“ Cineuropa „Impressive camera work“ Stefan Grissemann, Profil „The perfectly composed images and the edgy controversion could be signed by Jacques Tati and Harun Farocki.“ CPH:DOX 1998 – 2007 studies at The University of Music and Performing Arts in Vienna, Department film and television: imaging technology and camera with Prof. Christian Berger and editing 2014/2015 photographer for illustrated book Unberührte Schönheit and Die Kuh – Eine Hommage Since 2003 camera women for documentary- and fiction film WORK EXPERIENCE ABROAD China, North Korea, Zimbabwe, USA, Ethiopia, Uganda, Ukraine, Japan, Thailand, Nepal, India, Indonesia, Brazil, Germany, France, Portugal, Spain, Italy, Poland, Slovenia, Belgium, Netherlands, Hungary, Bulgaria, Sweden FILMOGRAPHY CAMERA (SELECTION) Was eine Familie leistet (in progress), essay film Dir: Sybille Bauer, Cam: Judith Benedikt Keutschach (in progress), cinema-documentary Dir: Andrina Mračnikar, Cam: Judith Benedikt, Prod: Soleil Film Zusammenleben (in progress), cinema-documentary Dir: Thomas Fürhapter, Cam: Judith Benedikt, Prod: Mischief Film We Conduct (in progress), cinema-documentary Dir: Bernadette Wegenstein, Cam: Shana Hagan, Judith Benedikt, Prod: waystone productions Backstage Wiener Staatsoper (2019), cinema-documentary Dir: Stephanus -
From Celebrated Novel to Media Outrage: the Public Debate Surrounding the Miniseries Zuleikha Opens Her Eyes
From Celebrated Novel to Media Outrage: The Public Debate Surrounding the Miniseries Zuleikha Opens Her Eyes Irina Anisimova This chapter discusses Egor Anashkin’s miniseries Zuleikha Opens Her Eyes (Zuleikha otkryvaet glaza), which premiered on one of Russia’s state- run federal tv channels, Russia-1 (Rossia-1), in April 2020. The series is an adaptation of Guzel’ Iakhina’s critically acclaimed novel of the same name published in 2015. In addition to the prime-time tv broad- cast, the series appeared simultaneously on the Russia-1 YouTube chan- nel. The series garnered record-high ratings among Russian tv viewers (Revizor 2020), and it also received high viewing numbers and praise on the Russia-1 YouTube channel. At the same time, the tv drama cre- ated public outrage and controversy in the traditional and new media. Throughout April, Russian newspapers published hundreds of articles, including interviews with the series’ producers, director, leading actress, and the novel’s author. Other articles discussed the film’s reception and reactions of different social groups; similar discussions took place on tv and radio stations. The miniseries became a media event across the ideo- logical spectrum in both pro-government and opposition media organi- zations. At the same time, the series elicited polarized responses among Twitter and Facebook users. The online debates were then summarized and reprinted in the traditional media. Going back to these debates and analyzing the hype surrounding the series, this chapter attempts to an- swer the following questions: Why did an unremarkable tv drama pro- duce such an intense reaction among the Russian audience? Why did the series’ reception differ from the much more favorable reception of the novel? What current social trends do these debates reveal? © irina anisimova · 2020 This is an open access chapter distributed under the terms of the prevailingcc-by licence. -
The Russian Sale New Bond Street, London | 28 November 2018
The Russian Sale New Bond Street, London | 28 November 2018 Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Malcolm Barber Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Colin Sheaf Deputy Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Matthew Girling CEO, Emily Barber, Antony Bennett, Charlie O’Brien, Giles Peppiatt, India Phillips, Patrick Meade Group Vice Chairman, Matthew Bradbury, Lucinda Bredin, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Asaph Hyman, Caroline Oliphant, Simon Cottle, Andrew Currie, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Edward Wilkinson, Geoffrey Davies, James Knight, Charles Graham-Campbell, Matthew Haley, Ralph Taylor, Charlie Thomas, David Williams, Jon Baddeley, Jonathan Fairhurst, Leslie Wright, Richard Harvey, Robin Hereford, Michael Wynell-Mayow, Suzannah Yip. Rupert Banner, Shahin Virani, Simon Cottle. Charles Lanning, Grant MacDougall, The Russian Sale New Bond Street, London | Wednesday 28 November 2018 at 3pm BONHAMS BIDS ENQUIRIES ILLUSTRATIONS 101 New Bond Street +44 (0) 20 7447 7447 London Front cover: Lot 29 London W1S 1SR +44 (0) 20 7447 7401 fax Daria Khristova Back cover: Lot 80 (detail) To bid via the internet please visit +44 (0) 20 7468 8338 Inside front: Lot 13 www.bonhams.com www.bonhams.com [email protected] Inside back: Lot 43 Opposite page: Lot 33 VIEWING Please provide details of the Cynthia Coleman Sparke Sunday 25 November lots on which you wish to place +44 (0) 20 7468 8357 To submit a claim for refund of 11am to 3pm bids at least 24 hours prior to [email protected] VAT, HMRC require lots to be Monday 26 November the sale. -
Otoños Porteños, Ytodos Sentimoscomo Propio
El Bafici nació a fines del siglo pasado cuando la revolución OTOÑOS PORTEÑOS tecnológica de lo digital y de la internet apenas se insinuaba, y una generación de cineastas argentinos estaba surgiendo, Historias del Bafici en sus primeros 20 años al tiempo que la crisis socioeconómica del país amenazaba con destruirlo todo. Los textos de este libro –de periodistas, cineastas, programadores y espectadores que hicieron el Bafici– forman un mosaico heterogéneo que intenta contar las historias de estas primeras veinte ediciones, sin eludir las 20 años del Bafici en sus primeros Historias críticas y las polémicas: los comienzos casi artesanales, la influencia decisiva en películas independientes argentinas, el canon cinematográfico que cristalizó y que quizás todavía no ha cambiado y las leyendas y anécdotas que le dan color a un festival de cine que ya es un clásico (y moderno) de los otoños porteños, y todos sentimos como propio. OTOÑOS PORTEÑOS PORTEÑOS OTOÑOS OTOÑOS PORTEÑOS Historias del Bafici en sus primeros 20 años Una edición del Ministerio de Cultura del Gobierno de la Ciudad de Buenos Aires en el marco del (20) Buenos Aires Festival de Cine Independiente (Bafici). Edición: Diego Papic Diseño: Verónica Roca Diagramación: Cecilia Loidi, con la colaboración de Kevin Lakner Corrección: Eugenia Saúl Se terminó de imprimir en la Ciudad Autónoma de Buenos Aires, en el mes de marzo de 2018. Los derechos de los textos pertenecen a los autores. Las imágenes son propiedad de Festivales de Buenos Aires, excepto donde se indica. Índice 5 Impriman la leyenda -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
Cineregio Members Back 39 Titles at Berlinale Incl. 50% of the Films
Communiqué de presse #1, Berlinale, February 2020 CineRegio members back 39 titles at Berlinale incl. 50% of the films competing for the Golden Bear & Silver Bears; highlighting its commitments to support the directors, producers and films that enrich Europe’s film sector; & call for the von der Leyen Commission (2019- 2024) to respect “the cultural exception”. As the 50 regional film funds, that comprise the CineRegio network, meet for their usual plenary session at Landesvertretung Thüringen during Berlinale to exchange learning and inspiration, the impact of their work is evident in the 39 films selected for the 70th Berlin Film Festival. 9 of the 18 feature films in this year's Main Competition equivalent to 50%, as well as 9 titles in Panorama and 10 titles in Generation; and 2 titles in the new Berlinale Encounters section devoted to new cinematic visions. Competition - Golden Bear • Berlin Alexanderplatz by Burhan Qurbani; DE-NL; MFG Baden Württemberg • Dau. Natasha by Ilya Khrzhanovsky & Jekaterina Oertel; DE-UA-UK-RU; Mitteldeutsche Medienförderung • Effacer l’historique by Gustave Kervern & Benoît Delepine; FR-BE; Pictanovo Région Hauts-de-France • Favolacce (Bad Tales) by Damiano & Fabio D'Innocenzo; IT-CH; Lazio Region Roma Lazio Film • Le sel des larmes by Philippe Garrel; FR-CH; Cinéforom + Pictanovo Région Hauts-de-France • Schwesterlein by Stéphanie Chuat & Véronique Reymond;CH; Zürcher Filmstiftung + Cinéforom • Siberia by Abel Ferrara; IT-DE-MX; IDM Film Fund & Commission + Lazio Region Roma Lazio Film • Theres Is No Evil by Mohammad Rasoulof; DE-CZ-IR; Filmförderung Hamburg Schleswig-Holstein • The Road Not Taken by Sally Potter; UK-SE; Film i Väst Charlotte Appelgren, General Secretary: "Films supported by CineRegio members are evident right across Berlinale from 9 titles competing for the Golden Bear & Silver Bears, to high artistic, political and provocative films in Panorama & Forum, to the 10 titles in Generation targeted at kids reflecting CineRegio's commitment to next generation audiences". -
70. Internationale Filmfestspiele Berlin Berlinale-Pressekonferenz Am 29
70. Internationale Filmfestspiele Berlin Berlinale-Pressekonferenz am 29. Januar 2020 70. Internationale Filmfestspiele Berlin Presseinformationen Grußwort ....................................................................................................... 3 Wettbewerb ................................................................................................... 4 Encounters .................................................................................................... 7 Berlinale Special und Berlinale Series ........................................................... 9 Berlinale Shorts ........................................................................................... 14 Panorama .................................................................................................... 15 Forum .......................................................................................................... 21 Forum Expanded ......................................................................................... 29 Generation ................................................................................................... 33 Perspektive Deutsches Kino ........................................................................ 42 Retrospektive und Berlinale Classics ........................................................... 44 Berlinale Goes Kiez ..................................................................................... 48 Jurypräsident .............................................................................................. -
Russian Cinema: a Very Short Story
Zhurnal ministerstva narodnogo prosveshcheniya, 2018, 5(2) Copyright © 2018 by Academic Publishing House Researcher s.r.o. Published in the Slovak Republic Zhurnal ministerstva narodnogo prosveshcheniya Has been issued since 2014. E-ISSN: 2413-7294 2018, 5(2): 82-97 DOI: 10.13187/zhmnp.2018.2.82 www.ejournal18.com Russian Cinema: A Very Short Story Alexander Fedorov a , a Rostov State University of Economics, Russian Federation Abstract The article about main lines of russian feature film history: from 1898 to modern times. The history of Russian cinema goes back more than a century, it knew the stages of rise and fall, ideological repression and complete creative freedom. This controversial history was studied by both Russian and foreign scientists. Of course, Soviet and Western scientists studied Soviet cinema from different ideological positions. Soviet filmmakers were generally active in supporting socialist realism in cinema, while Western scholars, on the contrary, rejected this method and paid great attention to the Soviet film avant-garde of the 1920s. After the collapse of the Soviet Union, the situation changed: russian and foreign film historians began to study cinema in a similar methodological manner, focusing on both ideological and socio-cultural aspects of the cinematographic process. Keywords: history, film, movie, cinema, USSR, Russia, film historians, film studies. 1. Introduction Birth of the Russian "Great Mute" (1898–1917). It is known that the French brought the movies to Russia. It was at the beginning of 1896. However, many Russian photographers were able to quickly learn a new craft. Already in 1898, documentary plots were shot not only by foreign, but also by Russian operators. -
National Convention 2009
National Convention 2009 American Association for the Advancement of Slavic Studies November 12–15, 2009 Boston, Massachusetts American Association for the Advancement of Slavic Studies 41st National Convention November 12–15, 2009 Marriott Copley Place Boston, Massachusetts American Association for the Advancement of Slavic Studies 8 Story Street, 3rd fl oor Cambridge, MA 02138 tel.: 617-495-0677, fax: 617-495-0680 e-mail: [email protected] web site: www.aaass.org iii CONTENTS Convention Schedule Overview ................................................................. iv List of the Meeting Rooms at the Marriott Copley Place ............................ v Diagrams of Meeting Rooms .................................................................vi–ix Exhibit Hall Diagram ...................................................................................x Index of Exhibitors, Alphabetical................................................................ xi Index of Exhibitors, by Booth Number .......................................................xii 2009 AAASS Board of Directors ...............................................................xiii AAASS National Offi ce .............................................................................xiii Program Committee for the Boston, MA Convention ................................xiii AAASS Affi liates .......................................................................................xiv 2009 AAASS Institutional Members ......................................................... xv Program -
Pocket Product Guide 2006
THENew Digital Platform EFM 2011 tm BERLIN POCKET ISSUE & PRODUCT OF FILM GUIDE New One Stop Product Guide Search at the Markets Paperless - Weightless - Green Read the Synopsis - Watch the Trailer BUSINESSConnect to Seller - Buy Product EFM 2011 Bumper Online - EFM Daily Editions - Unabridged EFM Product Guide + Stills The Visual is The Medium synopsisandtrailers.com makes it easy for you to Your Simplest Sales Tool read-watch-connect-buy like never before. S HOWCASING T RAILERS D AILY F EB 10-16 An end to site hopping. VISIT:thebusinessoffilmdaily.com For Buyers: Time is Money - View & Connect For Sellers: Attract Buyer Interest - Spend Your Time Promoting New Films November 2 - 9, 2011 Arrow Entertainment Sahamongkolfilm MGB Stand #120 MGB Stand #129 Vision Films Imageworks Ent. MGB Booth #127 Maritim Hotel Suite 9002 STEP UP to 21st Century The DIGITAL Platform PUBLISHING Is The FUTURE BERLIN PRODUCT GUIDE 2011 Writer: Laura Beccaria 6 SALES Producer: Abano Producion, Anera Films, 6 Sales, Alto de las cabañas 5 28231 Las Continental Producciones Rozas de Madrid. Tel: +34.91.636.10.54. Delivery Status: completed Fax: +34.91.710.35.93. www.6sales.es, E- Year of Production: 2010, Country of mail: [email protected] Origin: Spain Sales Agent Little MUMU’s journey towards her ulti- At EFM: Marina Fuentes (Partner), mate dream: to become a great star. Avraham Pirchi (Partner), Mar Abadin THE RUNWAY (Head of Sales) http://www.6sales.es/theRunaway.html Office: Washington Suite, office 100, Family comedy (100 min) Marriott Hotel, Tel: +49(0)30.22000.1127 -
L'union Fait La Force
Vendredi 18 janvier 2019 - N° 1642 PARCOURS Guillaume Mazeau : Enquête conseiller historique Musées : l’union INSTITUTIONS En Allemagne, fait la force le milieu de la culture en lutte contre le populisme MARCHÉ Maisons de ventes et marchands : des alliances fragiles www.lequotidiendelart.com 3€ soit dit en passant Limites n matière d’art, jusqu’où peut-on aller trop loin ? Voilà une question que pose DAU, ovni artistique qu’orchestre le réalisateur russe Ilya Khrzhanovsky, du 24 janvier au 19 février, aux théâtres du Châtelet et de la Ville. L’expérience est sans doute fascinante. Pendant deux ans, Ele réalisateur russe a repoussé les limites de l’art et de l’humain : quelque 400 personnes ont vécu claquemurées dans un institut fictif de l’ère soviétique reconstitué en Ukraine. Résultat : 700 heures de rush découpés en 13 films, doublés en France par Isabelle Huppert, Gérard Depardieu ou Fanny Ardant et des apparitions surprise, notamment de Marina Abramović. Le monde de l’art est sous le charme. Sidération et superlatifs sont au menu © D.R. des posts Instagram. Mais les comédiens ou petites mains qui ont refusé d’y participer ont plutôt flairé le malaise. Une comédienne française de renom (qui préfère rester anonyme) nous raconte avoir été sollicitée fin novembre pour doubler l’un des films. Saisie, de son propre aveu, par un mélange de fascination et répulsion, elle en a visionné neuf, dont trois contenant des scènes de pornographie avec des personnages féminins alcoolisés. Jusqu’à ce que le dernier, mettant en scène la torture physique et morale d’une femme, ne l’ébranle.