Soviet Identity in Discourse of Kazakhstan
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The Film Industry in the Russian Federation
THE FILM INDUSTRY IN THE RUSSIAN FEDERATION November 2012 Set up in December 1992, the European Audiovisual Observatory’s mission is to gather and diffuse information on the audiovisual industry in Europe. The Observatory is a Euro pean public service body comprised of 39 member states and the European Union, represented by the European Commission. It operates within the legal framework of the Council of Europe and works alongside a number of partner and professional organisations from within the industry and with a network of correspondents. In addition to contributions to conferences, other major activities are the publication of a Yearbook, newsletters and reports, and the provision of information through the Observatory’s Internet site (http://www.obs.coe.int). The Observatory also makes available four free‑access databases, including LUMIERE on admissions to films released in Europe (http://lumiere.obs.coe.int) and KORDA on public support for film and audiovisual works in Europe (http://korda.obs.coe.int). Nevafilm was founded in 1992 and has a wide range of experience in the film industry. The group has modern sound and dubbing studios in Moscow and St. NEVAFILM Petersburg (Nevafilm Studios); is aleader on the Russian market in cinema design, film and digital cinema equipment supply and installation (Nevafilm Cinemas); became Russia’s first digital cinema laboratory for digital mastering and comprehensive DCP creation (Nevafilm Digital); distributes alternative A REPORT FOR THE content for digital screens (Nevafilm Emotion); has undertaken independent monitoring of the Russian cinema market in the cinema exhibition domain since EUROPEAN AUDIOVISUAL OBSERVATORY 2003, and is a regular partner of international research organizations providing data on the development of the Russian cinema market (Nevafilm Research). -
Globalization and Youth Culture in Kazakhstan Nazgul Mingisheva
Globalization and Youth Culture in Kazakhstan Nazgul Mingisheva [email protected] The author is responsible for correspondence related to manuscript submission. 1 Nazgul Mingisheva Globalization and Youth Culture in Kazakhstan This paper is focused on the pilot quantitative research on youth culture building and gender construction through the Internet, media, popular culture, and computer games in post-Soviet Kazakhstan. There are some considerations of global, regional, and local contents of the Internet, media, and popular culture in students’ preferences in that research. In this study it was indicated that Russian context is spread in the Internet and media among the students’ interests while global one is widespread in popular culture. Although local Kazakh aspects are also presented on the Internet, media, and popular culture, it is not sufficient enough. Additionally, it was argued that Internet, media, popular culture, and computer games construct gender identity and sometimes gender equality of young people in present-day Kazakhstan. Keywords: youth culture, gender construction, globalization, postcolonialism, popular culture, Kazakhstan Introduction Youth studies in Central Asia started in the 2000s after the collapse of Soviet Union, the spread of postcolonial studies, and globalization worldwide (Appadurai, Benhabib, Anderson, Arnett). Kirmse pointed the following frameworks applied to youth in post-Soviet Central Asia such as “‘transition’, postcolonialism, nation-building and ‘Islamic revival’” (2010: 381). In this case, it would be possible to say that postcolonialism encounters with global challenges and experiences regarding the construction of identity and nation-building where youth consume and can reinterpret new ideas more successfully than adults. It is confirmed by Kirmse in that youth “inhabits ‘plural worlds’” and “often at the forefront of global cultural exchange” (2010: 390). -
The Russian Television Industry in the Global Age
Moscow Goes Hollywood: The Russian Television Industry in the Global Age by Jeffrey R. Brassard A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Sociology University of Alberta © Jeffrey R. Brassard, 2017 Abstract This study examines ways that both authoritarian capitalism and global flows of culture have shaped the Russian television industry. This dissertation explores three main questions: How does the system of state-directed capitalism shape television production, particularly with regards to balancing propaganda and profit? What kinds of representations are possible on television in Russia under authoritarian capitalism? What is the relationship of the Russian television industry with other parts of the global media industry? To explore these questions, this dissertation examines the structure of the Russian television industry with particular attention given to the most important channels and production companies. In all cases, the relationship of these companies to both the Putin-led state and their level of integration with the global television marketplace is examined in-depth. Using a mix of semi-structured interviews with industry workers, analysis of industry trade journals, popular press and textual analysis, this dissertation examines four of the main television stations in the country all of whom have different relationships to the state. I argue that typical accounts of Russian media as merely serving the interests of the state are overly simplistic. The expectation that television channels or production companies linked to the ruling elite create programming that supports the Putin government’s nation-building efforts while commercial stations use their platforms to criticize the status-quo is shown to be erroneous. -
Nation, Ethnicity and Race on Russian Television
Nation, Ethnicity and Race on Russian Television Russia, one of the most ethno-culturally diverse countries in the world, provides a rich case study on how globalization and associated international trends are disrupting and causing the radical rethinking of approaches to inter-ethnic cohe- sion. The book highlights the importance of television broadcasting in shaping national discourse and the place of ethno-cultural diversity within it. It argues that television’s role here has been reinforced, rather than diminished, by the rise of new media technologies. Through an analysis of a wide range of news and other television programmes, the book shows how the covert meanings of discourse on a particular issue can diverge from the overt significance attributed to it, just as the impact of that dis- course may not conform with the original aims of the broadcasters. The book discusses the tension between the imperative to maintain security through cen- tralized government and overall national cohesion that Russia shares with other European states, and the need to remain sensitive to, and to accommodate, the needs and perspectives of ethnic minorities and labour migrants. It compares the increasingly isolationist popular ethno-nationalism in Russia, which harks back to ‘old-fashioned’ values, with the similar rise of the Tea Party in the United States and the UK Independence Party in Britain. Throughout, this extremely rich, well-argued book complicates and challenges received wisdom on Russia’s recent descent into authoritarianism. It points to a regime struggling to negotiate the dilemmas it faces, given its Soviet legacy of ethnic particularism, weak civil society, large native Muslim population and over- bearing, yet far from entirely effective, state control of the media. -
The Film Distribution Market in Russia
THE FILM DISTRIBUTION MARKET IN RUSSIA Research group: Xenia Leontieva, Senior Analyst at Nevafilm Research. Analysts at Nevafilm Research: Eleonora Kolyenen-Ivanova Valeria Boyko Svetlana Mudrova Anton Makarov Translation: Eclectic Translations http://eclectictranslations.co.uk Nevafilm Nevafilm Group was founded in 1992 and boasts a wide range of expertise in the film industry. Nevafilm Studios has sophisticated sound and dubbing studios in Moscow and St. Petersburg. Nevafilm Cinemas has become a leader on the Russian market in cinema design, film and digital cinema equipment supply and installation. Nevafilm Digital was Russia’s first digital cinema laboratory for digital mastering and comprehensive DCP creation. Nevafilm Emotion distributes alternative content for digital screens. Nevafilm Research has undertaken independent monitoring of the Russian cinema market in the cinema exhibition domain since 2003, and is a regular partner of international research organizations providing data on the development of the Russian cinema market. 33-2B Korablestroiteley Street, St. Petersburg, 199397, Russia Tel.: +7 812 449 70 70, Fax: +7 812 352 69 69 E-mail: [email protected] http://www.nevafilm.ru http://www.digitalcinema.ru This report was prepared by Nevafilm Research strictly for informational purposes. The information contained in this report was obtained from sources that Nevafilm Research considers reliable. However, Nevafilm Research does not guarantee the accuracy nor the completeness of the information presented here for any purposes. The information contained in this report should not be presented to clients as information directly or indirectly recommending investment. All opinions and appraisals contained in this survey represent the opinions of the authors at the time of publication and can change without warning.