Plans for the Sequel, Irony of Fate. The
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Kazakhstan — the Place to Be
KAZAKHSTAN — THE PLACE TO BE DEAR FRIENDS, GREETINGS FROM KAZAKHSTAN! We are happy to share with you great news about our country. In 2019, the New Film Law was adopted and the Kazakh National Cinema Center was established! The new law introduces a Cash Rebate of 30%, fosters international co-productions and opens up Kazakhstan to worldwide cooperation and partnerships. Kazakh Cinema Center is a single operator for all new cinema endeavors. Don’t miss the opportunity to discover Kazakhstan’s enormous potential! YOUR KAZAKH CINEMA TEAM CONTENT 1 2 K AZAKHSTAN: K AZAKHSTAN: GENERAL FILM INFORMATION INDUSTRY 7 14 3 4 5 KAZAKH CINEMA: FILM FESTIVALS K AZAKHSTAN’S STATE CENTER & FILM RECENT FILMS FOR SUPPORT OF ASSOCIATION / NATIONAL FILM ORGANIZATIONS 21 27 39 5 K AZAKHSTAN: GENERAL INFORMATION 1 IN 2019 MAJOR CHANGES REPUBLIC OF KAZAKHSTAN MARKED THE DEVELOPMENT GENERAL INFORMATION OF THE FILM INDUSTRY IN K AZAKHSTAN. Continent Eurasia Region Central Asia • THE LAW ON FILM WAS Country Kazakhstan ADOPTED Population 18,5 mln. / More than 130 nationalities Government Presidential Republic • THE KAZAKH NATIONAL FILM Capital Nur-Sultan / Population 1 078 362 STATE CENTER WAS LAUNCHED Other major City Almaty / Population 1 863 000 Territory 9th place in the world: 2 724 900 sq. km KAZAKHSTAN’S FILM BUSINESS Languages Kazakh & Russian HAS BECOME ONE OF THE MOST Religion Islam / 70,2% • Christianity / 26,3% PROMISING CLUSTERS OF THE KZT NATIONAL ECONOMY. Currency Kazakh tenge / KZT Exchange: $1 = 379.7 9 RUSSIAN FEDERATION Nur-Sultan Oskemen KAZAKHSTAN Almaty MONGOLIA Mangystau Taraz TURKEY CHINA INDIA GEOGRAPHY Kazakhstan is the ninth largest country in the world and it’s From canyons and deserts to largely located in Asia while the most western parts are in Eastern Europe. -
The Anxiety of Wesley Gibson in Michael Brandt's Wanted
THE ANXIETY OF WESLEY GIBSON IN MICHAEL BRANDT’S WANTED MOVIE (2008): A PSYCHOANALYTICAL APPROACH RESEARCH PAPER Submitted as a Partial Fulfillment of Requirements For Achieving Bachelor Degree of Education By: EKO PUJIYANTO A 320 060 183 TEACHING TRAINING AND EDUCATION FACULTY MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2010 CHAPTER I INTRODUCTION A. Background of the Study Each person is unique individually, with his or her problem, the different experience in his or her lives. Many problems exist and could make people uncomfortable and feel anxieties. His or her experience can be happiness, sadness, hesitation, and anxiety. Occasionally, people are capable to solve the problem rationally, but in certain day, they cannot and the people will disclose falsehood. The people have capability to create feeling and thought. The composition of their feeling and thought are not static, but changeable. One of the problems is love. It is sensitive problem to the people. Because of love, the people can feel happy, unhappy, hesitation and anxiety. Those make people live differently. Anxiety is a style closely related to fear and it has motivational consequence. Anxiety can be nightmare for some individuals, because based on intense inner conflict it may appear when they have problem and they are too hard to solve. Some people reduce the anxiety by escaping from the problem for a moment, it happens because internal factor which can not be controlled in facing the problem. Anxiety may occur when one individual feels his or her society does not treat him or her as an individual who has right to decide. 1 2 Anxiety as one of psychoanalytic principle is part of psychoanalytic study. -
DNEVNOI DOZOR Berlinale Special WÄCHTER DES TAGES DAY WATCH DAY WATCH Regie: Timur Bekmambetov
Berlinale 2007 DNEVNOI DOZOR Berlinale Special WÄCHTER DES TAGES DAY WATCH DAY WATCH Regie: Timur Bekmambetov Russland 2006 Darsteller Anton Konstantin Länge 125 Min. Khabensky Format 35 mm, Svetlana Mariya Poroshina Cinemascope Geser Vladimir Menshov Farbe Olga Galina Tyunina Zavulon Viktor Verzhbitsky Stabliste Alisa Zhanna Friske Buch Sergei Lukianenko Yegor Dmitry Martynov Timur Bekmambetov Kostyas Vater Valeri Zolotukhin Alexander Talal Kostya Aleksei Chadov Kamera Sergey Trofimov Schnitt Dmitry Kiselev Musik Yuri Poteyenko Ausstattung Valery Victorov Mukhtar Mirzakeev Nikolay Ryabtsev Produzenten Konstantin Ernst Anatoly Maximov Ausführende Produzenten Alexey Kublitsky Varya Avdyushko Konstantin Khabensky Produktion Tabbak Film Company WÄCHTER DES TAGES c/o Channel One Russia Moskau. Gegenwart. Auf der Treppe eines unscheinbaren Hauses wurde Film Production Department eine junge Frau kaltblütig ermordet. Jedoch werden keine Spuren von Akademika Keroleva 12 Gewalt an ihrem Körper gefunden. RUS-Moskau 127000 Tel.: 95-217 82 88 Schnell wird klar, dass die tote Frau eine „Dunkle Andere“ und ein Mitglied Fax: 95-215 11 39 der Wächter des Tages war, einer Geheimorganisation, die von dem mächti - gen Hexenmeister Zavulon geführt wird. Der fragile Waffen still stand zwi - Weltvertrieb schen Licht und Finsternis, der über Jahrhunderte gewahrt wurde, wur de Fox Searchlight Pictures gebrochen – und ein „Heller Anderer“ ist der Hauptverdäch tige. 10201 West Pico Blvd. USA-Los Angeles Der Befehlshaber der Wächter der Nacht, Lord Geser, sammelt seine Trup - CA 90064 pen eilig zusammen, denn eine Anklage wegen Mordes ist eine ernste An - Tel.: 310-369 10 00 ge legenheit und die Konsequenzen könnten zum offenen Kampf zwischen Fax: 310-969 02 47 Licht und Finsternis führen. -
Screenlife E a Audiovisualização Do Software: Uma Análise Do Filme Amizade Desfeita
Screenlife e a Audiovisualização do Software: Uma Análise do Filme Amizade Desfeita Screenlife and The Software Audiovisualization: An Analysis of The Film Unfriended Screenlife y Audiovisualización del software: Análisis de la Película Unfriended Alex Damasceno1 Resumo: Investiga o formato screenlife a partir do problema da audiovisualização do software, uma tendência programada por um jogo metalinguístico entre audiovisual e software e pelos papéis centrais que ambos desempenham na cultura contemporânea. Primeiramente, busco compreender o screenlife como uma poética resultante do encontro das práticas transculturais do software com as convenções audiovisuais de mise-en-scène, decupagem e narrativa. Em segundo lugar, analiso o caso de Amizade Desfeita, na descrição de como os diferentes programas de computador foram audiovisualizados e na discussão das funções específicas que eles cumprem no filme. Palavras-chave: Audiovisualização do software. Screenlife. Amizade Desfeita. Abstract: Investigate the screenlife format based on the problem of software audiovisualization, a trend programmed by a metalinguistic game between audiovisual and software and the central roles that both play in contemporary culture. First, I try to comprehend screenlife as a poetic resulting from the encounter of the cross-cultural practices of the software with the audiovisual conventions of mise-en- scène, decoupage and narrative. Secondly, I analyze the case of Unfriended, describing how the different software were audiovisualized and discussing the specific functions they fulfill in the film. Keywords: Software audiovisualization. Screenlife. Unfriended. Resumen: Investiga el formato screenlife desde el problema de la audiovisualización del software, una tendencia programada por un juego metalingüístico entre audiovisual y software y los roles centrales que ambos juegan en la cultura contemporánea. -
Quick Reference Guide
THE UNOFFICIAL & COMPLETELY UNENDORSED QUICK REFERENCE GUIDE FOURTH EDITION FEBRUARY 2017 TABLE OF CONTENTS *New Laws Update p. 75-76 FIELD RESOURCES • Patrol Organization ...................... 3 • AFR Telephone Dictation ........... 17 • Standard Alphabet & Numbers .... 3 • Asset Seizure guidelines ............ 25 • Description of Persons ................ 3 • Ramey in A Nutshell .................. 27 • Codes .......................................... 3 • Restraining Orders / EPO’s ....... 27 • Vehicle Stops ............................... 4 • Language Line Services ............ 28 • Code 3 Driving ............................. 4 • Landlord Tenant Disputes ......... 28 • Records & Warrants Checks ....... 5 • Courtroom Testimony ................ 29 • Report Numbers .......................... 6 • Radio Channels & Zones ........... 31 • Arrests & Court Dates .................. 7 • Tactical Considerations ............. 33 • CSI Request................................. 8 • Building Perimeters .............. 35 • Searches ...................................... 9 • ICS System ........................... 36 • Addresses Numbers .................. 11 • EOD/ Bomb Squad Ref ........ 37 • In-Car Camera System .............. 11 • Riot Control Formations ....... 38 • Use of Force .............................. 12 • Perimeter Redi-Ref ............... 39 • Report Writing Examples ........... 13 • K-9 Perimeter Involvement ... 40 INVESTIGATIVE RESOURCES • Child Abuse Bureau .................................................................................... -
The Popular Geopolitics Feedback Loop: Thinking Beyond the ‘Russia Versus the West’ Paradigm
This is a repository copy of The Popular Geopolitics Feedback Loop: Thinking beyond the ‘Russia versus the West’ Paradigm. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/105624/ Version: Accepted Version Article: Saunders, RA and Strukov, V (2017) The Popular Geopolitics Feedback Loop: Thinking beyond the ‘Russia versus the West’ Paradigm. Europe Asia Studies, 69 (2). pp. 303-324. ISSN 0966-8136 https://doi.org/10.1080/09668136.2017.1299114 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Robert A Saunders & Vlad Strukov The Popular Geopolitics Feedback Loop: Thinking beyond the ‘Russia versus the West’ Paradigm 1. Introduction Arjun Appadurai argues that culture should not be seen as a type of substance, but rather a dimension of a phenomena, ‘a dimension that attends to situated and embodied difference’ (1996, 13). The difference to which he refers is a manner of signification, derived from Derrida’s notion of différance, or simultaneous deferring and differing (Derrida 1976, 1978). -
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). -
Technology and Active Spectatorship: Investigating “Desktop Film” from Media Ecology Perspective E-ISSN 1981-4070E-ISSN Jing Yang1
Media Evolution, “Double-edged Sword” Technology and Active Spectatorship: investigating “Desktop Film” from media ecology perspective e-ISSN 1981-4070e-ISSN Jing Yang1 Abstract / UFJF de Juiz Fora Federal Universidade Desktop film or computer screen film is a film subgenre with all events and actions taking place on a screen of a computer and using the protagonist’s first-person perspective, em Comunicação de Pós-graduação do Programa Revista exemplified by The Den (2013), Open Windows (2014), Unfriended (2014), Unfriended: Dark Web (2018), Profile (2018) and Searching (2018). This paper mainly focuses on the desktop films with the theoretical framework of “Media Ecology”, aiming to investigate how the desktop film evolves and interacts with new media, digital technology, while influencing communication and spectatorship. Firstly, this paper discusses the evolution of cinema, which evolves through the interaction, co-existence and convergence with other media, as well as corresponds to the anthropotropic trend. Secondly, this paper investigates the digital media and technology in desktop films. “Desktop films” create cyberspaces and reproduce people’s virtual lives, revealing the influences of media technology, which is considered as a double-edged sword. Thirdly, this paper analyzes how desktop film exerts impacts on cinematic communication, while reshaping the spectatorship and audience’s viewing mechanism. “Desktop films” are suitable to be watched on computer, thus making audiences become active and have more autonomy. Keywords Desktop Film; Media Ecology; Evolution; Technology; Spectatorship. 1 Ph.D Student in School of Journalism and Communication, Peking University. E-mail: [email protected] Juiz de Fora, PPGCOM – UFJF, v. 14, n. 1, p. -
And Post-Soviet Literature and Culture
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture Pavel Khazanov University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Eastern European Studies Commons, English Language and Literature Commons, European History Commons, and the European Languages and Societies Commons Recommended Citation Khazanov, Pavel, "Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture" (2017). Publicly Accessible Penn Dissertations. 2894. https://repository.upenn.edu/edissertations/2894 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2894 For more information, please contact [email protected]. Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture Abstract The return of Tsarist buildings, narratives and symbols has been a prominent facet of social life in post- Soviet Russia. My dissertation aims to explain this phenomenon and its meaning by tracking contemporary Russia’s cultural memory of the Imperial era. By close-reading both popular and influential cultural texts, as well as analyzing their conditions of production and reception, I show how three generations of Russian cultural elites from the 1950s until today have used Russia’s past to fight present- day political battles, and outline how the cultural memory of the Imperial epoch continues to inform post- Soviet Russian leaders and their mainstream detractors. Chapters One and Two situate the origin of Russian culture’s current engagement with the pre-Revolutionary era in the social dynamic following Stalin’s death in 1953. -
PR 2007 Nr 4.Indb
PRZEGLĄD RUSYCYSTYCZNY 2007. ZESZYT 4 (120) Marina Abasheva Perm State Pedagogical University, Russian Federation AESTHETICS VERSUS POLITICS: NIGHT WATCH AS THE COLD WAR ECHO This paper is devoted not so much to the popular literary tetralogy by Sergei Luk’ianenko, Night Watch (Ночной дозор), Day Watch (Дневной дозор), Twilight Watch (Сумеречный дозор), and Last Watch (Последний дозор) (2002-2006), editions of which have exceeded a million sales. Instead, this paper will focus mainly on its cinematic adaptations, Night Watch and Day Watch, directed by Timur Bekmambetov and released in 2004 and 2006. The box offi ce take of these fi lms was dozens of times their budget of 4.2 million US dollars, which, while incom- parable to American movie industry expenditures, is quite substantial for Russia. The movies were shown in Europe and the United States, and the third movie, Twilight Watch, will be shot in the United States in cooperation with the production company Fox Searchlight. These books and movies have become genuinely popular in contemporary Russia, which is no longer accustomed to huge literatary editions and the cinematic fame of the Soviet Mosfi lm studio. These books and movies have earned entrance to popular culture by the characteristics of their contents: while following the structure of a “formula narrative” (Cavelty), it is also an aggregation of fantasy, horror, adventure, catastrophe and many others. The success of these movies can be explained mainly by certain effective tech- niques of cinema marketing, new to the Russian fi lm industry, such as an extensive PR campaign and aggressive advertising (the fi lm was produced by Channel One, the central state channel of the Russian television). -
The Eight Prayer Watches: Which One Is Yours?
The Eight Prayer Watches: Which One is Yours? In James 5:16 (NIV), we are told that the “prayer of a righteous man is powerful and effective.” As we pray, we stand watch over our families, cities, and nations. Just as men stood on city walls in the Bible to watch for approaching danger, God calls us to be modern-day watchmen and warn those who are in danger (2 Kings 9:17-18). We are to watch not only for the enemy’s activity but also for the manifestation of God’s plans. If we watch for the enemy and announce his activity, we can avert the devil’s plans to steal, kill and destroy what God has for us. Jesus said in Matthew 24:43, “But know this, if the good man of the house had known in what watch the thief would come, he would have watched and would not have suffered his house to be broken up.” Today more than ever, it is important that we pray and seek the mind of the Lord: “Thy Kingdom come. Thy will be done in earth, as it is in heaven” (Matthew 6:10). Major decisions we are confronted with require us to know God’s individual will for our lives. With the Holy Spirit’s leading, we can discover God’s will and expose the plans of the enemy through strategic prayer. 1 The Bible speaks of “watches,” which are specific times of the day or night. There are basically eight watches covering 24 hours. This is because everyone has a prayer watch, even though they may not know it. -
Department of Languages, Literatures and Cultures Fall 2020 RUT 3524 (Section RUT5/ Class # 26138) Russia Through Film
Department of Languages, Literatures and Cultures Fall 2020 RUT 3524 (Section RUT5/ class # 26138) Russia through Film Synchronous online classes via Instructor: Dr Aleksandr Lvovich Burak Zoom/Canvas: M W F / Period 6: 12:50- Dauer Hall, room 254 1:40 pm E-mail: [email protected] End-of-course final project (in the form Tel: (352) 273-3798 of a Russian film review) to be e-mailed Office hours online/Zoom: M, W Period to the instructor no later than 5:00 p. m. 8 (3:00-3:50 pm) or by appointment on December 16 Mode of Instruction This course will be taught entirely online in synchronous mode on the ZOOM/Canvas platform. The only difference from the F2F delivery is that instructor and students won't be in physical proximity but will be interacting in real time online at the designated class meeting times. The instructor will conduct instruction and monitor students' progress via direct interaction in class and by two graded exam papers – a midterm and a final one. Course Description This course examines Russian history, institutions, and everyday life against the background of period-defining historical, political and cultural events from the early 20th century to the present day as reflected and refracted in some of the emblematic feature, documentary, and animated cartoon films. You will get acquainted with the key events and personalities of Stalin’s Soviet Union, the Great Patriotic War, the Khrushchev Thaw, the Brezhnev “stagnation period,” Gorbachev’s perestroika and glasnost, the “wild/roaring” 1990s of the Yeltsin period, and the new era of Putin, Medvedev, and Putin again.