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Page 01 Jan 20.Indd
TUESDAY 20 JANUARY 2015 • [email protected] • www.thepeninsulaqatar.com • 4455 7741 inside Eastwood’s American CAMPUS Sniper wins big in box • Chevron Phillips Chemical Qatar donates $25,000 to office battle American School of Doha P | 4 P | 8-9 RECIPE CONTEST • Send in your best recipe and win a dinner voucher for two P | 6 FOOD • Top with avocado, then have a little fun P | 7 HEALTH • Tethered to treadmills? Try the cardio machines in the corner P | 11 Nicole Schickova adjusts her unruly fake moustache, as crucial to her outfit as her bowler hat, and takes two comical giant steps, thrusting TECHNOLOGY her leg up as far as it will go, before dragging • Why Google should her rear foot over — all in fun for the fourth worry about being like Microsoft annual Silly Walk March. P | 12 WALKING SILLY IN LEARN ARABIC • Learn commonly used Arabic words CZECH REPUBLIC and their meanings P | 13 2 PLUS | TUESDAY 20 JANUARY 2015 COVER STORY icole Schickova adjusts her unruly fake moustache, as crucial to her outfit as her Nbowler hat, and takes two comical giant steps, thrusting her leg up as far as it will go, before dragging her rear foot over. The 24-year-old’s Austrian friend, also in moustache and hat, shuffles his feet while bending forward, then leans back for the next three steps — all with great exaggeration. The two are part of an 80-strong group doing the fourth annual Silly Walk March in the southern Czech city of Brno, inspired by a 1970 Monty Python sketch featuring John Cleese with a bowler hat, briefcase and goofy gait. -
APSCC Monthly E-Newsletter JANUARY 2017
APSCC Monthly e-Newsletter JANUARY 2017 The Asia-Pacific Satellite Communications Council (APSCC) e-Newsletter is produced on a monthly basis as part of APSCC’s information services for members and professionals in the satellite industry. Subscribe to the APSCC monthly newsletter and be updated with the latest satellite industry news as well as APSCC activities! To renew your subscription, please visit www.apscc.or.kr/sub4_5.asp. To unsubscribe, send an email to [email protected] with a title “Unsubscribe.” News in this issue has been collected from 1 to 31 December 2016. INSIDE APSCC APSCC Session at PTC'17, What do End Users Actually Want? 16 January 2017, Honolulu, Hawaii, USA, www.ptc.org/ptc17 While new technology is good, as are lower prices, are we actually meeting end user needs in the Pacific? Why/why not? What is being provisioned now and future? What gaps we must fill? Where does the satcom model fall short? The session, “What do End Users Actually Want?” would discuss end user needs across various applications and markets. Pierre-Jean Beylier, CEO, SpeedCast Richard Swardh, SVP, Comtech EF Data Imran Malik, RVP, O3b Networks Jacques-Samuel Prolon, General Manager, Kacific Broadband Satellites Moderated by Chris Baugh, President, NSR APSCC members can enjoy discounted rate when PTC’17 registration. Gregg Daffner Elected as APSCC President Gregg Daffner (CEO, GapSat) was elected and inaugurated as the President of APSCC at the 2016 APSCC General Assembly held on 13 December 2016. As the main representative of APSCC, Gregg will be responsible for setting the policies and goals of APSCC in consultation with the APSCC Board of Directors, Vice Presidents and Executive Director. -
“The Oera Linda Book” and “The Snow Queen”: Two Destinies of One Myth
Journal of Siberian Federal University. Humanities & Social Sciences 1 (2015 8) 149-174 ~ ~ ~ УДК 304.444 “The Oera Linda Book” and “The Snow Queen”: Two Destinies of One Myth Ksenia V. Reznikova* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 12.08.2014, received in revised form 04.11.2014, accepted 11.12.2014 This article features globalization in its two forms: natural globalization and artificial globalization. The need of natural globalization becomes more obvious taking into account the growth of challenge to the humankind. Artificial globalization nowadays is provided by westernization. Influence of globalization is more obvious at the mental than at the physical level, construction of the historical past and its mythologization played major roles in the course of globalization. Different relations between ideology and myth can be traced on the example of the destinies of two works, in which almost the same idea of the world order is represented. These are “The Oera Linda Book” and “The Snow Queen”. As a part of the study, seven invariants of the fairy tale by H.C. Andersen were analyzed. The carried-out analysis is based on a hypothesis that artificial globalization influences mythology of certain cultures, distorting it for own needs, resorting to different methods for different forms of the myth representation. So, myths in their pure form, demanded by the adult representatives of culture, are subjected to criticism, they are charged of falsification. The ultimate goal of such an influence is to bury the myth in oblivion as false. The myth that is represented in the reduced art form for children’s audience has the changed plot basis and in this new form it is subjected to maximum replication to substitute the original version in a period of time. -
A Microhistory of Ukraine's Generation of Cultural Rebels
This article was downloaded by: [Selcuk Universitesi] On: 07 February 2015, At: 17:31 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Nationalities Papers: The Journal of Nationalism and Ethnicity Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/cnap20 The early 1960s as a cultural space: a microhistory of Ukraine's generation of cultural rebels Serhy Yekelchyka a Department of Germanic and Slavic Studies, University of Victoria, Victoria, Canada Published online: 10 Oct 2014. Click for updates To cite this article: Serhy Yekelchyk (2015) The early 1960s as a cultural space: a microhistory of Ukraine's generation of cultural rebels, Nationalities Papers: The Journal of Nationalism and Ethnicity, 43:1, 45-62, DOI: 10.1080/00905992.2014.954103 To link to this article: http://dx.doi.org/10.1080/00905992.2014.954103 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
Canadian and Russian Animation on Northern Aboriginal Folklore
Canadian and Russian Animation on Northern Aboriginal Folklore Elena Korniakova A Thesis in The Individualized Program of The School of Graduate Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Fine Arts) at Concordia University Montreal, Quebec, Canada September 2014 Elena Korniakova, 2014 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Elena Korniakova Entitled: Canadian and Russian Animation on Northern Aboriginal Folklore and submitted in partial fulfillment of the requirement for the degree of Master of Arts (Fine Arts) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _________________________________Chair Chair's name _________________________________Examiner Examiner's name _________________________________Examiner Examiner's name _________________________________Supervisor Supervisor's name Approved by ______________________________________________________ Chair of Department or Graduate Program Director _____________2014 ____________________________________________________ Dean of Faculty -iii- ABSTRACT Canadian and Russian Animation on Northern Aboriginal Folklore Elena Korniakova Aboriginal legends depict the relationships between humans and nature as deeply symbolic and intertwined. When adapted to films by non-Aboriginal filmmakers, these legends are often interpreted in ways which modify human-nature relationships experienced by Aboriginal peoples. I explore such modifications by looking at Canadian and Russian ethnographic animation based on Northern Aboriginal folklore of the two countries. In my thesis, I concentrate on the analysis of ethno-historical and cinematic traditions of Canada and Russia. I also explore the Canadian and Russian conventions of animated folktales and compare ethnographic animation produced by the National Film Board of Canada and Russian animation studio Soyuzmultfilm. -
ICTV Morozov
CISCCONTENTONTENT:CONTENRTRREPORTEPORTEPORT CC ReviewОбзорОбзор of новостейaudiovisualновостей рынка content производства production and ии дистрибуциидистрибуции distribution аудиовизуальногоаудиовизуальногоin the CIS countries контента контента Media«»«MediaМ«»ÌЕДИÅÄÈ ResourcesА rÀРesourcesЕСУРСЫÐÅÑÓÐÑÛ МManagement ÌManagementЕНЕДЖМЕНТÅÍÅÄÆÌÅÍÒ» № №2№121(9)№24, №2 13 1April января, April, 1 July April, 30, 20152012 20132011 2012 tion but also be the award winners and nominees of тема номера DEARсловоDear colleagues!COLLEAGUES редакции different international film festivals. Despite large FOCUSFOCUS portion of information on the new movies, shows and УжеWeWe are areв первые happy toto дни present present нового you you the годаthe July Aprilнам, issue issue редакof the of cцtheиIsи: ПервыйLastseries autumn you’ll номер membersalso Contentfind theof Russian detailedReport association выходитreport on ofвthe televiкану re-н- UKRAINEКИНОТЕАТРАЛЬНЫ BECOMESЙ A ContentCIS:content Content Report, report Report сразу where whereстало we tried понятно,we to tried gather toчто thegather в most2011 the inм- Старогоsioncent anddeals movie Нового of international producers года, который chose distributors Red (наконецто) Square with the Screen cI sза-- всеmostteresting мы interesting будем up-to-date усердно up-to-date information и неустанно information about трудиться. rapidlyabout rapidly devel За- вершаетingspartners. as the чередуmost important праздников, industry поэтeventом of theу еще season. раз РЫН О К В УКРАИН Е : HIGH-PROSPECTIVETV MARKETS: -
Current Issues of Mass Communication Ак Ту Ал Ьні Пи Та Н Ня Мас О Вої Ко
Institute of Journalism of Taras Shevchenko National University of Kyiv Київський національний університет імені Тараса Шевченка Інститут журналістики CURRENT ISSUES OF MASS COMMUNICATION АКТУ АЛ ЬНІ ПИТА Н НЯ МАСО ВОЇ КОМ УНІ КА ЦІЇ Issue 14 Випу ск 14 КИЇВ 2013 Current Issues of Mass Communication is a bi-annual academic journal, published by Institute of Journalism of Taras Shevchenko National University of Kyiv. The Journal publishes the original and completed contributions in the field of the social communications, including the works on the theory and history of the social communications; the applied social communication technologies; the theory and history of the journalism; the theory and history of the publishing and editing; the social informatics; the document science and the archival science; the bibliology, the library science, and the bibliography. The Highest Attestation Commission of Ukraine has included the Current Issues of Mass Communication into the list of the professional scientific journals, in which the results of the dissertations for the PhD in the field of the social communications may be published. The journal was established in 2000. Founder: Taras Shevchenko National University of Kyiv. Certificate of registration: КВ № 20191-9991ПР of 2013-07-18. Frequency: 2 issues per year. Languages of the publications: Ukrainian, Russian and English. EDITORIAL BOARD Editor-in-Chief: Volodymyr Rizun (professor, PhD, Kyiv, Ukraine) Associate Editors: Tadeusz Wallas (professor, PhD, Poznan, Poland) Maksym Khylko (senior -
We Present the Catalog of Current Russian Animation-2021
RAFA is Russian animated film association. RAFA represents the interests of Russian animation industry and helps to create favorable conditions for effective development of animation in Russia and worldwide. RAFA includes more than 60 companies which are involved in animation: production companies, TV channels, distribution and licensing companies. • 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 projects 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. TAP HERE CONTENTS RAFA NAVIGATION ALPHABETICAL LIST INDUSTRIAL ANIMATION INDEPENDENT ANIMATION Dear Friends, Russian Animated Film Association presents the 10th anniversary сatalog of Russian Animation. The global pandemic has changed the usual format of many events, so now for the second year we are publishing the catalog in a convenient web format. In the 10 years that have passed since the release of the first catalog, we have come a long way. Since 2012, when RAFA was formed, the number of animation studios in Russia has doubled, and the production of animation has grown more than 5 times. Today RAFA unites more than 60 animation studios from 7 regions of Russia, which animation is adapted into 60 languages and distributed in more than 150 countries of the world. It is gratifying that despite the problems faced by many industries, Russian studios are not only continuing to produce animation but are also increasing its number and quality. -
Association for Slavic, East European, & Eurasian Studies
1 Association for Slavic, East European, & Eurasian Studies 46th Annual Convention • November 20-23, 2014 San Antonio Marriott Rivercenter • San Antonio, TX “25 Years After the Fall of the Berlin Wall: Historical Legacies and New Beginnings” Stephen E. Hanson, College of William and Mary ASEEES Board President We are most grateful to our sponsors for their generous support. GOLD SPONSOR: East View Information Services BRONZE SPONSORS: College of William and Mary Reves Center for International Studies National Research University Higher School of Economics Indiana University Russian and East European Institute • University of Texas, Austin Center for Russian, Eastern European and Eurasian Studies and Department of Slavic and Eurasian Studies 2 Contents Convention Schedule Overview ..................................................................................................... 2 List of the Meeting Rooms at the Marriott Rivercenter .............................................................. 3 Visual Anthropology Film Series ................................................................................................4-5 Diagram of Meeting Rooms ............................................................................................................ 6 Exhibit Hall Diagram ....................................................................................................................... 7 Index of Exhibitors, Alphabetical ................................................................................................... 8 -
Viktoriya Havrylyuk Marek Jachimowski
ISSN 2312-8933 Studia Politologica Ucraino-Polona. 2018. Вип.8 Viktoriya Havrylyuk Marek Jachimowski Uniwersytet Śląski PRZESTRZEŃ MEDIALNA UKRAINY: POSTKOMUNISTYCZNE DOŚWIADCZENIE Viktoriya Havrylyuk, Marek Jachimowski. The media space of Ukraine: the post-communist experience. Based on a review of the extensive related literature, the changes that have taken place in the media and information space of Ukraine since Soviet times for the first twenty years of independence of that state have been shown in this article. The authors of the publication try to show the multiple conditions affecting the shaping of these spaces: from historical, social, political and economic to technological. They also indicate global phenomena that also influence the processes that shape contemporary periodic media and mediated communication of Ukraine. Key words: information space, media system, communication, television, on line media, social media. Wstęp System medialny Ukrainy w ciągu dwudziestu lat od głasnosti1 [15] do pomarańczowej rewolucji2 [74] podlegał ogromnym zmianom. Ukraina wycofała się z zamkniętego, scentralizowanego sowieckiego systemu medialnego i zaczęła rozwijać zróżnicowane, nowoczesne środowisko medialne, zintegrowane z globalnymi systemami komunikacyjnymi. Przed rokiem 1991 przestrzeń medialna Ukrainy objęta była radzieckim systemem mediów. Systemy medialne na poziomie republikańskim (Ukrainy) dysponowały mniejszymi finansami niż system ogólnozwiązkowy (ZSRR). W konsekwencji systemy republikańskich mediów nie rozwijały się technologicznie, a przez to nie zyskiwały na popularności. W sierpniu 1991 r. parlament Ukrainy ogłosił niepodległość państwa. Po przejęciu kontroli nad przestrzenią medialną/informacyjną rząd Ukrainy potwierdził prawo własności prywatnej oraz zniesienie cenzury i likwidację barier w kontaktach międzynarodowych. To sprawiło, iż nastąpił wzrost liczby mediów drukowanych, kanałów telewizyjnych, a dla dziennikarzy otworzyła się nieznana wcześniej możliwość wolności słowa. -
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. -
On the Topics and Style of Soviet Animated Films
BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE Article On the Topics and Style of Soviet Animated Films ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 16 DOI: 10.1515/bsmr-2017-0002 BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE ABSTRACT This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its develop- ment. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian ani- mation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s para- digm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.