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Ebook Download the Cinema of Russia and the Former Soviet
THE CINEMA OF RUSSIA AND THE FORMER SOVIET UNION PDF, EPUB, EBOOK Birgit Beumers | 288 pages | 30 Apr 2007 | WALLFLOWER PRESS | 9781904764984 | English | London, United Kingdom The Cinema of Russia and the Former Soviet Union PDF Book However, different periods of Soviet cinema have been covered quite unevenly in scholarship. Greenland is not a country. The result is an extraordinary, courageous work of documentary-making, austere yet emotive, which records soup distribution and riots alike with the same steady, unblinking gaze. Username Please enter your Username. Take Elem Klimov. Bill Martin Jr.. Even though it was wrecked by political unrest, the Russian economy continued to grow over the years. It offers an insight into the development of Soviet film, from 'the most important of all arts' as a propaganda tool to a means of entertainment in the Stalin era, from the rise of its 'dissident' art-house cinema in the s through the glasnost era with its broken taboos to recent Russian blockbusters. Votes: 83, Yet they still fail to make a splash outside of their native country. The volume also covers a range of national film industries of the former Soviet Union in chapters on the greatest films and directors of Ukrainian, Kazakh, Georgian and Armenian cinematography. Seven natural wonders. Article Contents. History of film Article Media Additional Info. Olympic hockey team to victory over the seemingly invincible Soviet squad. While Soviet and Russian cinema was rather understudied until the collapse of the USSR, since the early s there has been a rise in publications and scholarship on the topic, reflecting an increase in the popularity of film and cultural studies in general. -
DIRECTOR Larisa Shepitko WRITING Yuri Klepikov and Larisa Shepitko Wrote the Screenplay Adapted from a Novel by Vasiliy Bykov
October 29, 2019 (XXXIX:10) Larisa Shepitko: THE ASCENT (1977, 111m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Larisa Shepitko WRITING Yuri Klepikov and Larisa Shepitko wrote the screenplay adapted from a novel by Vasiliy Bykov. Production Company Mosfilm MUSIC Alfred Schnittke CINEMATOGRAPHY Vladimir Chukhnov and Pavel Lebeshev EDITING Valeriya Belova CAST Boris Plotnikov...Sotnikov Vladimir Gostyukhin...Rybak Sergey Yakovlev...Village elder Lyudmila Polyakova...Demchikha Viktoriya Goldentul...Basya Anatoliy Solonitsyn...Portnov, the Nazi interrogator Mariya Vinogradova...Village elder's wife Nikolai Sektimenko...Stas' She also adopted his motto, "Make every film as if it's your last." Shepitko graduated from VGIK in 1963 with LARISA SHEPITKO (b. January 6, 1938 in her prize winning diploma film Heat*, or Znoy made Artyomovsk, Ukrainian SSR, USSR [now Artemivsk, when she was 22 years old. The film was influenced by a Donetsk Oblast, Ukraine]—d. July 2, 1979 (age 41) in short story, ''The Camel's Eye'', by Chingiz Aitmatov. near Redkino, Kalinin Oblast, Russian SFSR, USSR), Her 1967 short film, “Homeland of electricity,”* part of whose filmmaking career was tragically cut short by a car the omnibus Beginning of an Unknown Era, suffered accident, was on the verge of becoming a name censorship for its perceived negative portrayal of the synonymous with internationally renowned directors to Bolsheviks, despite its intention to commemorate the emerge from the Soviet Union. -
October 30, 2012 (XXV:9) Elim Klimov, COME and SEE/Иди И Смотри (1985, 136 Min)
October 30, 2012 (XXV:9) Elim Klimov, COME AND SEE/Иди и смотри (1985, 136 min) Directed by Elem Klimov Written by Ales Adamovich and Elem Klimov Original Music by Oleg Yanchenko Cinematography by Aleksei Rodionov Film Editing by Valeriya Belova Production Design by Viktor Petrov Art Direction by Viktor Petrov Set Decoration by Viktor Petrov P. Gutenko…military advisor Aleksey Kravchenko…Florya Gaishun Olga Mironova…Glasha Liubomiras Lautsyavichius …Kosach Vladas Bagdonas Jüri Lumiste Viktor Lorents Kazimir Rabetsky Yevgeni Tilicheyev Aleksandr Berda vracha, 1964 Welcome, or No Trespassing, 1962 Smotrite, nebo!, G. Velts 1960 Zhenikh, and 1959 Ostorozhno: poshlost. V. Vasilyev Igor Gnevashev ALEKSEI RODIONOV (April 26, 1947, Moscow, Soviet Union) has 23 Vasili Domrachyov cinematographer credits: 2011 Generation P, 2008 Admiral, 2004/I G. Yelkin Yes, 2002 Letniy dozhd, 2002 Where Eskimos Live, 2000 24 Hours, Ye. Kryzhanovsky 2000 Eisenstein, 2000/I “Cinderella”, 1998 Talk of Angels, 1997 N. Lisichenok Passion in the Desert, 1995-1996 “Red Shoe Diaries”, 1995 Viktor Manaev Musulmanin, 1993 Ya khotela uvidet angelov, 1992 Orlando, 1989 Takhir Matyullin Zhena kerosinshchika, 1987 Shura i Prosvirnyak, 1986 My vesely, Pyotr Merkurev schastlivy, talantlivy!, 1985 Come and See (as A. Rodionov), 1985 Valentin Mishatkin “Vstrecha pered razlukoy”, 1985 “Protivostoyanie”, 1983 Sredi G. Matytsky serykh kamney, 1983 Proshchanie,, and 1970 Moya sudba. Yevgeniya Polyakova Anatoli Slivnikov Georgi Strokov ALEKSEY KRAVCHENKO… Florya Gaishun (Aleksei Yevgenyevich -
Visualizing the Past: Perestroika Documentary Memory Of
VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA by Erin Rebecca Alpert B.A. in Global Studies, College of William and Mary, 2007 M.A. in Slavic Languages and Literatures, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Erin Alpert It was defended on May 12, 2014 and approved by Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Jeremy Hicks, Reader, Queen Mary University of London, Department of Russian Dissertation Advisor: Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Erin Alpert 2014 iii VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA Erin Alpert, PhD University of Pittsburgh, 2014 The main goal of this dissertation is to look at how, during perestroika, documentary breaks away from the traditional notions of the genre in order to reexamine and redefine traumatic events from the Stalinist period. The first chapter examines the nuances of three critical terms: “documentary,” “collective memory,” and “cultural trauma.” I then turn to a historical approach, exploring how political culture and technology affected the content, production, and screening of documentaries, first discussing the time leading up to perestroika and then the massive changes during the glasnost era. In the final chapters, I argue that there are three primary approaches the films examined in this project take to understanding the past. -
Come and See: Elem Klimov's Intimate Epic
Come and See: Elem Klimov’s Intimate Epic During my recently concluded sabbatical leave, I decided to prepare for my return to teaching and research after more than four years as a full-time administrator by watching 20 movies a month for a calendar year. Of the 240 films I viewed with varying degrees of attentiveness, none proved more compelling than Elem Klimov’s Come and See (1985), a harrowing depiction of the German invasion of Byelorussia in what the Soviets called The Great Patriotic War, known to Americans as World War Two. I cannot recall what prompted me to order this film from Netflix, but I do know that I had not read anything about it and was quite unprepared for its stunning effect, even when viewed on a small screen. In light of its impact, I was surprised to discover at the outset of my research how little had been written about the film, although I have subsequently discovered that Come and See is held in the highest regard by historians and scholars of Russian cinema. This paper represents a first attempt to assess the aesthetic dimensions of Klimov’s masterpiece. Most articles to date have concentrated on the film’s anti-war ideology and its significance as an historical marker of a particular moment in Soviet history: near the end of the period of Brezhnev’s “stagnation” (zastoi) and on the cusp of glasnost. My own critical approach to Come and See is more formalist. I am drawn to Klimov’s deployment of an array of cinematic techniques—most prominently close-ups, moving camera, and sound track—to memorialize both the sufferings of the individual survivor, a village boy of about 14 who joins the partisans, and the anonymous tens of thousands of victims of Nazi atrocities as the army burned its way through rural Byelorussia. -
Glasnost & Goodwill Highlights Washington's Grassroots Cold War
News Release FOR IMMEDIATE RELEASE: September 28, 2017 MEDIA CONTACT: Julianna Verboort, Marketing and Communications Director, Washington State Historical Society, 253-798-5902, [email protected] Visionaries and risk takers: Glasnost & Goodwill highlights Washington’s grassroots Cold War activists Tacoma, WA - By the 1980s, there were thousands of nuclear weapons aimed at the United States, and an equal number targeted at the Soviet Union. The arms race was running out of control and only a vague notion of “mutually assured destruction” stood between war and peace for the world’s superpowers. And yet, citizens did not sit idly by. Quietly a movement formed, built by citizen diplomats who reached across the Pacific to engage their neighbors, one conversation at a time. Washingtonians, in particular, saw an opportunity to bring peace with their neighbors through business partnerships, sister-city relationships, and cultural exchanges. Presented by the Washington State Historical Society, Glasnost and Goodwill: Citizen Diplomacy in the Northwest is an invigorating plunge into how citizen diplomacy in Washington and the greater Northwest contributed to the thawing of the Cold War. Glasnost & Goodwill is brought to life through compelling photographs, rare videos, fascinating oral histories, and authentic artifacts that trace the rise of grassroots diplomacy in Northwest from the late 1930s through the collapse of the Soviet Union in 1991 and beyond. Many of the citizen activists contributed to and were involved in creating the exhibition. Their stories reveal the levels of fear and hope that drove their unprecedented actions. In 1987, Lynne Cox became the first person to swim the Bering Strait between the United States and the Soviet Union. -
Print ED368613.TIF
DOCUMENT RESUME ED 368 613 SO 023 661 TITLE Resource Guide to Teaching Aids in Russian and East European Studies. Revised. INSTITUTION Indiana Univ., Bloomington. Russian and East European Inst. SPONS AGENCY Department of Education, Washington, DC. PUB DATE Aug 93 NOTE 66p. AVAILABLE FROMRussian and East European Institute, Indiana Univ., Ballantine Hall 565, Bloomington, IN 47405. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Area Studies; Educational Media; Elementary Secondary Education; *European History; Foreign Countries; Global Approach; Higher Education; History Instruction; International Education; Multicultural Education; *World History IDENTIFIERS *Eastern European Studies; Europe (East); Global Education; Poland; Russia; *Russian Studies; USSR (Russia) ABSTRACT This document contains an annotated listing of instructional aids for Russian and East European studies that are available for loan or rent from Indiana University (Bloomington). The materials are divided into nine sections:(1) slide programs; (2) filmstrips available from the Indiana University (IU) Russian and East European Institute;(3) audio cassettes;(4) books, teaching aids, and video kits;(5) films and videotapes available through the IU Russian and East European Institute;(6) a Russian and East European Institute (REEI) order form for obtaining materials from the REEI; (7)film-, and videotapes from the IU Audio-Visual Center;(8) an IU order form for obtaining films from the IU Audio-Visual Center; and (9) films, videotapes, and slides that are available from the IU Polish Studies Center. The first section on slide programs includes 5 on Eastern Europe and 9 on Russia and the Soviet successor states. The second grouping, filmstrips from IU REEI, lists 9 sound filmstrips and an additional section of Russian captioned filmstrips produced in the Soviet Union. -
Antarctica's White Wilderness
Antarctica’s White Wilderness SMALL SHIP CRUISE TOUR Plus optional extensions in Bariloche, Argentina: Patagonian Andes & Lakes; Iguassu Falls, Argentina & Brazil ATC/ATP 2015 GCCL ATC.ATP. 2015 07/20/15 3 Grand Circle Cruise Line Antarctica’s White Wilderness Table of Contents 1. PASSPORT, VISAS AND TRAVEL DOCUMENTS .......................................................................... 6 Passport Required .................................................................................................................................... 6 No U.S. Passport? .................................................................................................................................... 6 Visa required for Brazil ........................................................................................................................... 7 Special Forms Required for Antarctic Cruise .......................................................................................... 8 2. YOUR HEALTH ................................................................................................................................... 10 Keep Your Abilities In Mind ................................................................................................................. 10 Health Checkup ...................................................................................................................................... 11 Vaccinations.......................................................................................................................................... -
The Russian Cinematic Culture
Russian Culture Center for Democratic Culture 2012 The Russian Cinematic Culture Oksana Bulgakova Follow this and additional works at: https://digitalscholarship.unlv.edu/russian_culture Part of the Film and Media Studies Commons, Other Languages, Societies, and Cultures Commons, and the Slavic Languages and Societies Commons Repository Citation Bulgakova, O. (2012). The Russian Cinematic Culture. In Dmitri N. Shalin, 1-37. Available at: https://digitalscholarship.unlv.edu/russian_culture/22 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Russian Culture by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. The Russian Cinematic Culture Oksana Bulgakova The cinema has always been subject to keen scrutiny by Russia's rulers. As early as the beginning of this century Russia's last czar, Nikolai Romanov, attempted to nationalize this new and, in his view, threatening medium: "I have always insisted that these cinema-booths are dangerous institutions. Any number of bandits could commit God knows what crimes there, yet they say the people go in droves to watch all kinds of rubbish; I don't know what to do about these places." [1] The plan for a government monopoly over cinema, which would ensure control of production and consumption and thereby protect the Russian people from moral ruin, was passed along to the Duma not long before the February revolution of 1917. -
Sean Lowry, Cold War Memorial (2013) Thought Projection Over
Sean Lowry, Cold War Memorial (2013) Thought projection over Bering Strait (168°58'37’W) with visual schema During the Cold War, the Bering Strait marked the physical border between the United States and the Soviet Union. Although it is not possible to physically see the 55 miles across the Bering Strait, as Sarah Palin reminded us in her now infamous September 11 2008 ABC interview ‘…you can actually see Russia from land here in Alaska, from an island in Alaska.’ Beyond the banality of Palin’s command of international relations, it is nonetheless true that there are two islands in the middle of the Bering Strait: Big Diomede (the easternmost point of Russia), and Little Diomede (part of the United States). At their closest point, the two islands are approximately 2.4 miles apart. Given that the horizon is approximately 2.9 miles away at sea level, on a clear day it is indeed possible to see Russia from U.S. territory. The Diomede Islands are however typically blanketed by dense fog. Although geographically remote to key Cold War boundaries such as Berlin, the Korean Demilitarized Zone and the Florida Straits, Little Diomede Island was once the only place from which one could literally see the Soviet Union from U.S. territory. Together with an international border, the International Date Line also separates the islands (at 168°58'37’W). During winter, an ice bridge spans the distance between the two islands, making it possible to walk between the islands. During the Cold War, this space was referred to as the ‘Ice Curtain’. -
Swimming to Antarctica by Lynne Cox « « HMH Book Clubs
Swimming to Antarctica by Lynne Cox « « HMH Book Clubs... http://hmhtrade.com/bookclubs/discussion-guides/swimming-to... HMH Book Clubs Find great new books for your reading group! Swimming to Antarctica by Lynne Cox 11 March 2009, 12:00 am Swimming to Antarctica Lynne Cox ISBN:9780156031301 About the book: Now in paperback, with photos and maps added especially for this new edition, here is the acclaimed life story of a woman whose drive and determination inspire everyone she touches. Lynne Cox started swimming almost as soon as she could walk. By age sixteen, she had broken all records for swimming the English Channel. Her daring eventually led her to the Bering Strait, where she swam five miles in thirty- eight-degree water in just a swimsuit, cap, and goggles. In between those accomplishments, she became the first to swim the Strait of Magellan, narrowly escaped a shark attack of the Cape of Good Hope, and was cheered across the twenty-mile Cook Strait of New Zealand by dolphins. She even swam a mile in the Antarctic. Lynne writes the same way she swims, with indefatigable spirit and joy, and shares the beauty of her time in the water with a poet’s eye for detail. She has accomplished yet another feat–writing a new classic of sports memoir. About the author: LYNNE COX has set records all over the world for open-water swimming. She was named Los Angeles Times Woman of the Year, inducted into the International Swimming Hall of Fame in 2000, honored with a lifetime achievement award from the University of California–Santa Barbara, and worked for six years as a research 1 of 5 5/24/13 10:58 AM Swimming to Antarctica by Lynne Cox « « HMH Book Clubs.. -
Cold Water Safety & Survival
Cold Water Safety and Survival: Volume 2 Surviving Outdoor Adventures Written by Alaska Marine Safety Education Association staff: Marian Allen, Steven Campbell, Jerry Dzugan, Dan Falvey, Michael Jones, Rick McElrath, and Shawn Newell Edited by Marian Allen, Susan Jensen, Shawn Newell, Dan Walker, and Madelyn Walker Published by University of Alaska Sea Grant Fairbanks, Alaska SG-ED-37 This publication is a product of the Alaska Marine Safety Education Association (AMSEA) whose mission is to reduce injury and the loss of life, due to drowning and hypothermia, through education and training. AMSEA is supported by the following organizations: Alaska Vocational Technical Center (AVTEC); University of Alaska Marine Advisory Program; North Pacific Fishermen’s Association; North Pacific Fisheries Observer Training Center; Alaska Native Tribal Health Consortium; Southeast Alaska Regional Health Consortium, Environmental Health; Alaska Department of Fish and Game; Petersburg Vessel Owners Association; Alaska Department of Health and Human Services, Community Health and Emergency Medical Services Section; National Institute of Occupational Safety and Health, Division of Safety Research; U.S. Coast Guard 17th District, Maritime Office of Compliance (MOC). This publication was made possible by funding from the U.S. Department of Health and Human Services, Health Resources and Services Administration (HRSA), Rural Health Outreach; the Alaska Department of Community and Regional Affairs; the Alaska Department of Health and Social Services, Division of Public Health; the Reuben E. Crossett Endowed Alaskan Fund; and the Sitka, Alaska, School District Migrant Education Program. New lesson plans and additional teaching resources can be found on AMSEA’s Web site www.amsea.org. Elmer E.