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Social Condenser’ in Eldar Ryazanov’S Irony of Fate VOL
ESSAY Soviet Bloc(k) Housing and the Self-Deprecating ‘Social Condenser’ in Eldar Ryazanov’s Irony of Fate VOL. 113 (MARCH 2021) BY LARA OLSZOWSKA A completely atypical story that could happen only and exclusively on New Year's Eve. – Eldar Ryazanov, Irony of Fate, 1976. Zhenya lives in apartment № 12 of unit 25 in the Third Builder Street, and so does Nadia, only that she lives in Leningrad, whereas Zhenya lives in Moscow. After a heavy drinking session at the bathhouse with friends on New Year’s Eve, Zhenya accidentally gets on a flight to Leningrad one of his friends had booked for himself. Still intoxicated on arrival, he gives his address to a taxi driver and arrives “home”. He lets himself into Nadia’s flat with his key – even their locks match – and falls asleep. When Nadia wakes him, the comical love story between the two takes center stage and the coincidence of their matching housing blocks seems to be little more than a funny storytelling device. Upon further examination it is far more significant. The misleading epigraph at the start of Eldar Ryazanov’s Irony of Fate quoted above links the ludicrous events that follow to the date on which they unfold. On New Year’s Day 1976, the film was first broadcast to television audiences across the Soviet Union, telling an extraordinary tale in a very ordinary place. This “atypical story” is not really a result of the magic of New Year’s Eve alone, but more so a product of its setting: a Soviet apartment in a Soviet housing block in a socialist city. -
Professional Wrestling, Sports Entertainment and the Liminal Experience in American Culture
PROFESSIONAL WRESTLING, SPORTS ENTERTAINMENT AND THE LIMINAL EXPERIENCE IN AMERICAN CULTURE By AARON D, FEIGENBAUM A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2000 Copyright 2000 by Aaron D. Feigenbaum ACKNOWLEDGMENTS There are many people who have helped me along the way, and I would like to express my appreciation to all of them. I would like to begin by thanking the members of my committee - Dr. Heather Gibson, Dr. Amitava Kumar, Dr. Norman Market, and Dr. Anthony Oliver-Smith - for all their help. I especially would like to thank my Chair, Dr. John Moore, for encouraging me to pursue my chosen field of study, guiding me in the right direction, and providing invaluable advice and encouragement. Others at the University of Florida who helped me in a variety of ways include Heather Hall, Jocelyn Shell, Jim Kunetz, and Farshid Safi. I would also like to thank Dr. Winnie Cooke and all my friends from the Teaching Center and Athletic Association for putting up with me the past few years. From the World Wrestling Federation, I would like to thank Vince McMahon, Jr., and Jim Byrne for taking the time to answer my questions and allowing me access to the World Wrestling Federation. A very special thanks goes out to Laura Bryson who provided so much help in many ways. I would like to thank Ed Garea and Paul MacArthur for answering my questions on both the history of professional wrestling and the current sports entertainment product. -
Sergey Abashin Institute of Ethnology and Anthropology of the Russian Academy of Sciences (Moscow) [email protected]
Sergey Abashin Institute of Ethnology and Anthropology of the Russian Academy of Sciences (Moscow) [email protected] Cultural Processes and Transcultural Influences In Contemporary Central Asia Issues addressed and the aims of the text What is this text about? What are the goals of its author? Some preliminary explanations may help shape the expectations of the reader and prevent possible disappointment. My main purpose is to give a three-dimensional overview of the state of cultural affairs in Central Asian societies after the states in the region achieved independence and to describe the main current tendencies defining local cultural processes and transcultural influences in the long term. I am interested in such themes as: culture and the changing political landscape; the institutional environment for culture; culture and education; culture and language; culture and ethnic minorities; culture and religion; the cultural marketplace; culture and business; culture and globalisation. My questions: how is the Soviet experience of "cultural construction” used and transformed in the modern nation-states of Central Asia? what restrictions on cultural production are imposed by the political situation and economic possibilities of these countries? how do the processes of isolationism and globalisation interact? what changes are being wrought by the islamisation of these societies? what is the future potential of secular, European-style, culture? who are the main players in the region’s cultural space? These questions might seem too general, but without considering and judging them, any attempt to understand the essence of events in narrower fields of cultural life is, surely, doomed to failure. In an “analytical note”, a number of general recommendations for the work of international organisations in the cultural sphere of Central Asia are presented. -
The Operational Aesthetic in the Performance of Professional Wrestling William P
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 The operational aesthetic in the performance of professional wrestling William P. Lipscomb III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Lipscomb III, William P., "The operational aesthetic in the performance of professional wrestling" (2005). LSU Doctoral Dissertations. 3825. https://digitalcommons.lsu.edu/gradschool_dissertations/3825 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE OPERATIONAL AESTHETIC IN THE PERFORMANCE OF PROFESSIONAL WRESTLING A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication Studies by William P. Lipscomb III B.S., University of Southern Mississippi, 1990 B.S., University of Southern Mississippi, 1991 M.S., University of Southern Mississippi, 1993 May 2005 ©Copyright 2005 William P. Lipscomb III All rights reserved ii ACKNOWLEDGMENTS I am so thankful for the love and support of my entire family, especially my mom and dad. Both my parents were gifted educators, and without their wisdom, guidance, and encouragement none of this would have been possible. Special thanks to my brother John for all the positive vibes, and to Joy who was there for me during some very dark days. -
Preservation and Changes of Russian Culture from the Perspective of Film Language — Taking Attraction As an Example
Preservation and Changes of Russian Culture from the Perspective of Film Language — Taking Attraction as an Example Wenhan Yang Heilongjiang University, Harbin 116085, Heilongjiang, China Email: [email protected] Abstract: The changes of Russian literature and film language, to some extent, mirror the historical process of changes of Russian culture. In the history of cultural development in several centuries, Russia has critically absorbed the achievements of Eastern and Western civilizations on the premise of preserving its own cultural background, thus forming a Russian civ- ilization with national characteristics. Taking Attraction as an example, this paper analyzes the preservation and changes of modern and contemporary Russian culture from the perspective of film language, so as to discover the changes of modern and contemporary Russian civilization. Keywords: film language, Russian culture, preservation and change, Attraction Introduction Attraction is a science fiction based love affair film directed by Fyodor Bondarchuk with the love track of the heroine Yulya as the clue, and it depicted various contradictions and tensions in social life as the earth was collapsing. In the film, there are few descriptions of battles and invasions, but love, kinship, friendship and other elements are vigorously rendered with relatively slow pace. The doomsday soft science fiction film Attraction gives a large proportion on the discussion of human nature, conveying the director and screenwriter's unique world view and cosmology, and conveying the anti-war spiritual core. 1. The preservation of Russian culture in the film language of Attraction 1.1 Preservation of love culture Love is the eternal theme of Russian films and world films. -
Isaak Babel," Anonymous, "He Died for Art," Nesweek (July 27, 1964)
European Writers: The Twentieth Century. Ed. George Stade. Vol. 11. New York: Charles Scribner's Sons, 1983. Pp. 1885-1914. Babel's extant output: movie scripts, early short Isaac Babel fiction, journalistic sketches, one translation, and a few later stories that remained unpublished in Babel's lifetime (they were considered offensive either to the (1894 – 1940) party line or the censor's sense of public delicacy). His most famous work, the cycle of short stories Gregory Freidin and vignettes, Konarmiia (Red Cavalry), was first published in a separate edition in 1926. It dealt with the experiences of the Russo-Polish War of 1920 as (A version of this essay in Critical Biography was seen through the bespectacled eyes of a Russian published in European Writer of the Twentieth Jewish intellectual working, as Babel himself had Century [NY: Scribners, 1990]) done, for the newspaper of the red Cossack army. This autobiographical aura played a key rôle in the success and popularity of the cycle. The thirty three jewel-like pieces, strung together to form the first Isaac Babel (1894-1940) was, perhaps, the first edition of Red Cavalry, were composed in a short Soviet prose writer to achieve a truly stellar stature in period of time, between the summer of 1923 and the Russia, to enjoy a wide-ranging international beginning of 1925, and together constitute Babel's reputation as a grand master of the short story,1 and lengthiest work of fiction (two more pieces would be to continue to influence—directly through his own added subsequently). They also represent his most work as well as through criticism and scholarship— innovative and daring technical accomplishment. -
9357 En Invit Poddubny Moscow 230915
WRESTLING FEDERATION OF RUSSIA ФЕДЕРАЦИЯ СПОРТИВНОЙ БОРЬБЫ РОССИИ Russia, 119991, Moskow, Luzhnetskaya nab., 8 President – tel (7 495) 725-4741; tel/fax: (7-499) 255-2101 Executive management: tel/fax 725-4621 E-mail: [email protected] , [email protected] Greco-Roman Style Department – tel/fax 725-4712 Free Style Department – tel. 725 -4735; tel/fax 725 -4607 December 27, 2016 Moscow To: Presidents of National Wrestling Federations of Azerbaijan, Armenia, Austria, Belarus, Bulgaria, Bosnia & Herzegovina, China, Croatia, Cuba, Czech Republic, Egypt, Finland, France, Hungary, Denmark, Germany, Georgia, Greece, Iran, Japan, Kazakhstan, Kyrgyzstan, Korea, Korea DPR, Latvia, Lithuania, Moldova, Macedonia, Montenegro, Norway, Poland, Serbia, Slovenia, Slovakia, Spain, Sweden, Turkey, Tajikistan, Turkmenistan, Uzbekistan, Ukraine, USA, Estonia, Romania, Russia, Venezuela ____________________________________________ Dear Mr. President, Dear Wrestling Friends, The Wrestling Federation of Russia is honored to invite the wrestling delegation of your National Federation to participate in Grand Prix Ivan Poddubny Senior International Tournament (GR) to be held in Moscow, Russia, on January 20-23, 2017. In order to provide visas in time it is necessary as soon as possible to send the entries by names, copies of passports and filled in Visa Forms. Address: Wrestling Federation of Russia 8, Luzhnetskaya nab., 119992, Moscow, Russia. Tel/Fax: (+7.499) 255-2101, (+7.495) 725-47-12, 725-46-21; E-mail: [email protected] , [email protected] . Mikhail Mamiashvili President Wrestling Federation of Russia Encl. Program, Regulation and Visa Form 9357 271216 GRAND PRIX IVAN PODDUBNY SENIOR INTERNATIONAL TOURNAMENT (GR) Moscow (RUS), 20-23 January, 2017 R E G U L A T I O N 1. -
International Human Rights Film Festival “Stalker”
INTERNATIONAL HUMAN RIGHTS XХIV FILM FESTIVAL 9-14 декабря 2018 года Москва Генеральный партнер ОРГАНИЗАТОРЫ ФЕСТИВАЛЯ FESTIVAL ORGANIZERS ГИЛЬДИЯ КИНОРЕЖИССЕРОВ РОССИИ THE FILM DIRECTORS GUILD OF RUSSIA ФОНД ПРЕЗИДЕНТСКИХ ГРАНТОВ THE PRESIDENT’S GRANTS FOUNDATION МИНИСТЕРСТВО КУЛЬТУРЫ РОССИЙСКОЙ ФЕДЕРАЦИИ THE MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION ГЕНЕРАЛЬНЫЙ ПАРТНЕР ФЕСТИВАЛЯ GENERAL PARTNER OF THE FESTIVAL ФОНД МИХАИЛА ПРОХОРОВА THE MIKHAIL PROKHOROV FOUNDATION СОВМЕСТНАЯ ПРОГРАММА РОССИЙСКОЙ ФЕДЕРАЦИИ JOINT PROGRAM OF THE RUSSIN FEDERATION И УПРАВЛЕНИЯ ВЕРХОВНОГО КОМИССАРА AND UN OHCHR ПО ПРАВАМ ЧЕЛОВЕКА (УВКПЧ ООН) УПРАВЛЕНИЕ ВЕРХОВНОГО КОМИССАРА ООН OFFICE OF THE UNITED NATIONS HIGH COMMISSIONER ПО ДЕЛАМ БЕЖЕНЦЕВ (УВКБ ООН) FOR REFUGEES (UNHCR) IN THE RF ПРЕДСТАВИТЕЛЬСТВО МЕЖДУНАРОДНОЙ THE INTERNATIONAL HUMANITARIAN ORGANIZATION OXFAM ГУМАНИТАРНОЙ ОРГАНИЗАЦИИ ОКСФАМ В РОССИИ ФИЛИАЛ ФОНДА РОЗЫ ЛЮКСЕМБУРГ В РФ THE BRANCH OF THE ROZA LUXEMBURG FOUNDATION IN THE RF ПОСОЛЬСТВО КОРОЛЕВСТВА НИДЕРЛАНДОВ EMBASSY OF THE KINGDOM OF THE NETHERLANDS В РОССИЙСКОЙ ФЕДЕРАЦИИ IN THE RUSSIAN FEDERATION ПОСОЛЬСТВО КАНАДЫ В РОССИЙСКОЙ ФЕДЕРАЦИИ EMBASSY OF CANADA TO THE RUSSIAN FEDERATION Уважаемые друзья! Dear friends! Рад приветствовать участников и гостей XХIV Международного фестиваля I am really glad to greet the participants and guests of the 24th International Human фильмов о правах человека «Сталкер». Rights Film Festival “Stalker”! Традиционно киноискусство служит отражением глубинных процессов, проте- Filmmaking traditionally serves as reflection of depth processes that take course in the кающих в жизни общества. И ваш авторитетный творческий форум из года в год life of society. From year to year your reputable creative forum selects dozens of works by собирает десятки работ талантливых кинематографистов, привлекающих вни- talented film makers and attracts attention of the widest audience. -
RAFA 2015.Pdf
www.mkrf.ru RAFA is Russian animated film association. RAFA represents the interests of the Russian animation industry and helps to create favorable conditions for the effective development of anima tion in Russia and worldwide. RAFA represents the interests of animation studios of all sizes, as well as individual flmmakers working in animation, including indep endent directors, production designers, animators etc. The association also includes organizations which are involved in animation: TV networks with an interest in animation,distribution companies and Internet companies, that is, all organizations whose business is related to the field of animation and who are interested in joining forces. • If you need to communicate with any Russian studio, organization or animator, • If you need assistance in participation in festivals and film markets in Russia, • If you need to organize the presentation of your services to Russian partners, • If you need talents and studios for co-production JUST CONTACT RAFA! RAFA is proud to present opportunity of Russian animation to you. Today RAFA is 40 best Russian studios that able for cooperation with you and 200 animators, composers, producers etc that would like to join your team. 4 5 CONTENTS RAFA 3 OPENING WORD 7 RUSSIAN ANIMATION TODAY 8 STUDIOS 10 SHORTS 180 ALPHABETICAL LIST 200 ON THE CATALOG WORKED 203 6 7 Dear friends, Russian Animated Film Association offers you the fourth edition of a catalogue of current animated films. In the new release, you will find information on all latest releases in the Russian animated film industry in 2014 and early in 2015. The new catalogue fundamentally differs from its predecessors. -
Serebro Mama Lover Mp3, Flac, Wma
Serebro Mama Lover mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: Mama Lover Country: Poland Released: 2011 Style: Europop MP3 version RAR size: 1746 mb FLAC version RAR size: 1158 mb WMA version RAR size: 1794 mb Rating: 4.9 Votes: 647 Other Formats: MIDI AAC XM VQF WAV ADX MP2 Tracklist Hide Credits 1 Mama Lover (Radio Edit) 3:29 2 Mama Lover (Original) 4:02 Mama Lover (WAWA Remix) 3 5:33 Remix – Wawa Mama Lover (WAWA Dub Mix) 4 5:31 Remix – Wawa Mama Lover (The Cube Guys Remix) 5 7:04 Remix – The Cube Guys* Mama Lover (Lockout's Remix) 6 5:00 Remix – Lockout Mama Lover (Gary Caos Remix) 7 6:57 Remix – Gary Caos Video 1 Mama Lover 4:04 Companies, etc. Phonographic Copyright (p) – Ego Music Phonographic Copyright (p) – Vae Victis Srl Phonographic Copyright (p) – Art & Music Recording Licensed From – Монолит Notes ℗ 2012 Ego/ Vae Victis Srl / Art & Music Recording Srl under exclusive license from Izdatelstvo Monolit LLC Other versions Category Artist Title (Format) Label Category Country Year Mama Lover (CD, Single, 9013CDS Serebro Ego Music 9013CDS Italy 2012 Car) Mama Lover (7xFile, AAC, 5999545558327 Serebro CLS Music 5999545558327 Hungary 2012 EP, 256) Mama Lover (Remixes) Mucha Mas none Serebro none Mexico 2012 (5xFile, AAC, EP, 256) Música Mama Lover (File, AAC, 5099993462655 Serebro EMI 5099993462655 Japan 2013 Single, 256) Mama Lover (Remixes) 8033712128535 Serebro Ego Music 8033712128535 Europe 2012 (5xFile, AAC, EP, 256) Related Music albums to Mama Lover by Serebro Carol Hahn - Reach Out / Come Be My Lover Eydie Gormé - Mama, Teach Me To Dance / You Bring Out The Lover In Me Mama - Horses - The Remixes Hello Lover - Hello Lover Big Mama Thornton - Cotton Picking Blues / They Call Me Big Mama Alistair Foster - Shy Lover Billie Leigh, Lee Kelton Orchestra, Keltonaires - Mama Mama / Keep Me That Way LL Cool J - Mama Said Knock You Out - Marley Marl Remix Broadhurst - Little Lover (Remixes) Serebro - Mi Mi Mi (Remixes). -
Annual Report
ANNUAL REPORT on most significant events of 2014 radio year and core trends in streaming broadcast and music industry' development of 2015 Part 1 – RADIO STARS & RADIO HITS ООО “СОВРЕМЕННЫЕ МЕДИА ТЕХНОЛОГИИ”, 127018 РОССИЯ, МОСКВА, СТАРОПЕТРОВСКИЙ ПРОЕЗД, ДОМ 11, КОРП. 1, ОФИС 111, +7 (495) 645 78 55, +44 20 7193 7003, +1 (347) 274 88 41, +49 69 5780 1997, WWW.TOPHIT.RU CONTENTS Introduction.………………….…………………………………………………………………………………………………………………. 2 Radio stars and radio hits…………………………………………………………………………………………………………………. 4 Artists and songs – Top Hit Music Awards 2015 winners…….…………………………………………………….……… 6 Achievements of record labels in 2014…………………………………………………………………………………………….. 7 Top 10 of Companies with biggest number of spins on radio air……………………..……………………………….. 8 Top 10 Companies with biggest number of songs on radio air …………………………………………………………. 9 Top 10 Companies with biggest number of spins per each song………………………………………………………. 10 Top 10 Companies with biggest number of songs on TOP HIT 100 radio chart…………………………………. 11 Top 10 Companies with best song test results …………………………………………………………………………………. 12 Top 100 of most frequently rotated local and foreign songs on Moscow radio air 2014…………………… 13 Top 20 of hot rotation playlists, set music trends on Moscow radio air 2014.…………………………………… 15 2015: Top Hit 3.0 ……………………………………………………………………………………………………………………………… 19 About the author……………………………………………………………………………………………………………………………… 20 1 ООО “СОВРЕМЕННЫЕ МЕДИА ТЕХНОЛОГИИ” 125130 РОССИЯ МОСКВА СТАРОПЕТРОВСКИЙ ПРОЕЗД, 11, КОРП. 1, ОФИС 102 +7 495 645 7855 +44 20 7193 7003 +1 347 274 8841 +49 69 5780 1997 WWW.TOPHIT.RU Introduction Every day hundreds of millions of people listen to radio, driving their cars. Music, news, programs and advertising are delivered in single information flows to listeners. Today the radio air brodcast is gradually replaced by the Internet streaming, and the place of customary radiostations and TV sets is more often taken by desktops, tablet PCs and smartphones with various entertainment apps in them. -
L'industrie Cinématographique En Fédération De Russie
L’industrie cinématographique en Fédération de Russie Etude de l’Observatoire Européen de l’Audiovisuel Auteurs : Nevafilm, avec des contributions de RFilms © European Audiovisual Observatory, Novembre 2009. SYNTHESE DES PROPOS CONCERNANT L’ANIMATION ©Afca Remarques générales Au Ministère de la Culture russe, investisseur majeur de la production locale, un département est consacré au cinéma d’animation et au cinéma documentaire. En 2002, le Gouvernement s’est donné pour but d’augmenter la production annuelle pour atteindre 65 films d’animation par an, cible effectivement atteinte en 2006. Puis, la Russie est passée de 65 films en 2006 à 160 films d’animation en 2008 (majoritairement des courts métrages : 11 longs métrages produits entre 2006 et 2008 seulement). Parallèlement, le financement public passait de 285 à 319 millions de roubles. (Source: Ministère de la Culture de la Fédération de Russie) Les longs métrages d’animation distribués dans les salles, qui ont bénéficié d’un soutien étatique, accèdent actuellement à la reconnaissance du public et voient leur audience augmenter. En Russie, 3 festivals sont spécialisés en cinéma d’animation, dont notamment le festival national de l’animation, qui se tient à Suzdal fin février : www.suzdalfest.ru Les prestations graphiques sont pourvues par 6 studios : Mosfilm, Gorky Film Studio, Lenfilm, Sverdlovsk Film Studio, Media City et Creative Production Association (TTO). Ce secteur est peu développé, mais les entreprises essaient aujourd’hui de développer leur expérience et compétences. La plupart veulent s’équiper et engager des spécialistes pour ouvrir des studios de graphisme, d’animation et de simulation 3D. On peut donc signaler une dynamique positive dans l’industrie des effets visuels.