The Year 1988 Became a Turning-Point, and Not in the Best Direction
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Russia's Identity Relations with Europe, the EU, and the United States: 1991-2007 Ted Hopf, Ohio State University August 2007 [email protected]
Russia's Identity Relations with Europe, the EU, and the United States: 1991-2007 Ted Hopf, Ohio State University August 2007 [email protected] One can identify several waves of Russian identity relations with the world since 1991. These periods are 1992, 1993-2001 2001-5, and 2005-present. In the first period, there was, simply speaking, a Liberal identification with the West, in particular the United States. This was rapidly supplanted by a Centrist identification with the West, in particular with Europe, but also with an idealized Soviet past and an emerging Russian uniqueness. 911 cemented this Centrist identity, while simultaneously reinforcing a proto-Soviet identification with the US as the other superpower in the Global War On Terror (GWOT). Finally, since about 2005, a Russian dis-identification has occurred with both Europe and the US, and a growing stress on Russia as Russia has emerged. Russia’s Identities from 1991-911 There were three main discourses on Russian identity in the 1990s in Moscow: liberal, conservative, and centrist. The categorizations in Table One compare each discourse and its elements of identification. Each understood Russia with respect to internal, external, and historical Others.1 Liberals identified Russia’s future, at first with the American, and then with the European, present. They identified against the Soviet past and against the internal representation of that Other: the conservative discourse of communists and far right national patriots. They recognized the weakness of the Moscow federal centre vis-à-vis its 89 federal subjects, but felt economic prosperity within a democratic market economy would secure Russia from threats. -
Marina Davydova: Some Thoughts on Russian Theatre at the Turn of the Century
rtlb.ru russian theatre life in brief Marina DavyDova: Some ThoughTS on RuSSian Theatre aT The TuRn of The CenTuRy January 2008 White Dresses. “ouR pRoduCTionS aRe abSoluTely Safe.” The Russian theatre of the past decade has Throughout the nineties the Russian theatre been largely drawn into the orbit of the theatre existed in a distinctive kind of ghetto, making of Europe. Or it is rather the other way around – no attempts to digest aesthetically the rapidly European drama has turned out of the blue to changing reality: we are here all by ourselves, occupy the Russian theatre space to the effect all dressed in white, while the reality stinks of considerably changing the local theatrical and has nothing to do with us. Paradoxical as landscape. In terms of major theatrical forums it may sound, in the post-perestroika period Moscow has lately left far behind all the capi- we could claim to have Europe’s most asocial tals and mega cities of the world: the Chekhov public and theatre. In the Soviet times theatre Festival, the Territory, the NET, the Stanislavsky managed to substitute, no matter how clum- Season to mention just a few. In the context sily, for the civil society. But it clearly failed to of the current guest tour hullabaloo even the become an integral component of this spring- Golden Mask that is by definition (“national the- ing up new society that was offering a wider atre award and festival”) prescribed to cultivate range of freedoms. predominantly the national stage has scaled up The social and political affectation somehow to acquire the European dimension by bringing ran dry as the long-standing rules of play- along the productions of overseas dignitaries. -
This Is the Published Version of a Chapter Published in Russische Und Sowjetische Geschichte Im Film
http://www.diva-portal.org This is the published version of a chapter published in Russische und Sowjetische Geschichte im Film: Von Väterchen Zar, tragischen Helden, russischen Revolutionären und "kalten Krieger"n. Citation for the original published chapter: Kotljarchuk, A. (2016) Invisible Victims: The Cold War and Representation of the Roma Genocide in Soviet Feature Films, Teleplays and Theater Performances. In: Alexander Friedman ; Frank Jacob (ed.), Russische und Sowjetische Geschichte im Film: Von Väterchen Zar, tragischen Helden, russischen Revolutionären und "kalten Krieger"n (pp. 129-150). New York: ALTIJA N.B. When citing this work, cite the original published chapter. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32100 Powered by TCPDF (www.tcpdf.org) RUSSISCHE UND SOWJETISCHE GESCHICHTE IM FILM Von bolschewistischen Revolutionären, antifaschistischen Widerstandskämpfern, jüdischen Emigranten und „Kalten Kriegern“ Alexander FRIEDMAN und Frank JACOB (Hrsg.) New York Geschichte und Film, Bd. 1 Hrsg. Frank JACOB und Alexander FRIEDMAN Alexander Friedman und Frank Jacob: Russische und Sowjetische Geschichte im Film: Von bolschewistischen Revolu- tionären, antifaschistischen Widerstandskämpfern, jüdischen Emigranten und „Kalten Kriegern“ © ALTIJA, Frank Jacob, New York 2016. Coverdesign: Judith Weber / Smakelig ISBN: 978-1541360853 Inhaltsverzeichnis 1. Kino als „wichtigste aller Künste“: Einleitung Alexander FRIEDMAN und Frank JACOB 5 2. „Das weite Land und die Reichtümer der Rus lockten die Eroberer an“ – Das bedrohte Russland im Film Alexander QUERENGÄSSER 15 3. The Images of Dying and New Jewish Worlds in the Soviet Ci- nema: “The Jews on the Land” versus “Jewish Luck (Menachem Mendel)” Andrei ZAMOISKI 33 4. „Kube, Hitlers Gauleiter in Minsk, war der leibhaftige Teufel“. -
A Cultural Analysis of the Russo-Soviet Anekdot
A CULTURAL ANALYSIS OF THE RUSSO-SOVIET ANEKDOT by Seth Benedict Graham BA, University of Texas, 1990 MA, University of Texas, 1994 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2003 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Seth Benedict Graham It was defended on September 8, 2003 and approved by Helena Goscilo Mark Lipovetsky Colin MacCabe Vladimir Padunov Nancy Condee Dissertation Director ii Copyright by Seth Graham 2003 iii A CULTURAL ANALYSIS OF THE RUSSO-SOVIET ANEKDOT Seth Benedict Graham, PhD University of Pittsburgh, 2003 This is a study of the cultural significance and generic specificity of the Russo-Soviet joke (in Russian, anekdot [pl. anekdoty]). My work departs from previous analyses by locating the genre’s quintessence not in its formal properties, thematic taxonomy, or structural evolution, but in the essential links and productive contradictions between the anekdot and other texts and genres of Russo-Soviet culture. The anekdot’s defining intertextuality is prominent across a broad range of cycles, including those based on popular film and television narratives, political anekdoty, and other cycles that draw on more abstract discursive material. Central to my analysis is the genre’s capacity for reflexivity in various senses, including generic self-reference (anekdoty about anekdoty), ethnic self-reference (anekdoty about Russians and Russian-ness), and critical reference to the nature and practice of verbal signification in more or less implicit ways. The analytical and theoretical emphasis of the dissertation is on the years 1961—86, incorporating the Stagnation period plus additional years that are significant in the genre’s history. -
Russia's Famous Dead As Political Currency Date
The Living Dead: Russia’s Famous Dead as Political Currency by Abigail Probert Department of Slavic and Eurasian Studies Duke University Date:_______________________ Approved: ___________________________ Jehanne Gheith, Supervisor ___________________________ Edna Andrews ___________________________ Elena Maksimova Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Slavic and Eurasian Studies in the Graduate School of Duke University 2014 ABSTRACT The Living Dead: Russia’s Famous Dead as Political Currency by Abigail Probert Department of Slavic and Eurasian Studies Duke University Date:_______________________ Approved: ___________________________ Jehanne Gheith, Supervisor ___________________________ Edna Andrews ___________________________ Elena Maksimova An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Slavic and Eurasian Studies in the Graduate School of Duke University 2014 Copyright by Abigail Probert 2014 Abstract This thesis examines how the dead bodies of the Romanovs and of Vladimir Lenin are used as political and cultural capital in attempts to legitimate and shape Russia’s post-Soviet government. The first chapter shows how the reburial of the Romanovs invoked tsarist imagery as part of a larger series of invocations of the tsarist past by then-President Boris Yeltsin and other groups to build a new government. However, due to political tension and infighting the only group that benefited from the reburial of the Romanovs was the Russian Orthodox Church. The second chapter explores how the embalmed body of Vladimir Lenin is problematic by being unburied and being a reminder of Soviet times. Both of these chapter use newspaper articles, speeches, and interdisciplinary analysis of academic text to show how Boris Yeltsin, Vladimir Putin, and the Russian Orthodox Church built, or attempted to build, stability in post-Soviet Russia. -
Nina Sadur's Portrait by Mikhail Kopyov, Reproduced by the Artist's Permission
NiNa The Witching Hour and Sadur Other Plays Edited by Nadya L. PEtErsoN BostoN 2 0 1 4 Copyright © 2014 Academic Studies Press All rights reserved ISBN 978-1-61811-398-6 (hardback) ISBN 978-1-61811-399-3 (paperback) ISBN 978-1-61811-400-6 (electronic) Book design by Ivan Grave On the cover: Nina Sadur's portrait by Mikhail Kopyov, reproduced by the artist's permission. Published by Academic Studies Press in 2014 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open. Published by Academic Studies Press 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com C o n t e n t s Acknowledgments ~ 4 ~ Introduction. Nina Sadur’s Fantastic Theater, by Mark Lipovetsky translated by Nadya L. Peterson ~ 6 ~ Go! translated by Nadya L. -
№ 4 2020 Viff Daily | №4 | 2020 Viff Daily | №4 | 2020
17.10.2020 VIFF DAILY № 4 2020 VIFF DAILY | №4 | 2020 VIFF DAILY | №4 | 2020 And I have no regrets. For everything I thank God. For the wisdom of my father (my mother was upset: “where are you taking your son? How is he there in Moscow”), because everything turned out like this. Obedient Actor — From the moment I received my second higher education – the Advanced Course for Screenwriters and Film Directors, the Workshop of Vladimir Khotinenko – I became an ideal ac- tor. You see, in directing, you can never go wrong in creating this artificial world. You can always be right, because there is bound to be a real person on earth who, in exactly the same situation, did exactly what you dictated to a character and how you demanded to play from an actor. And even though millions may say that this does not happen, in fact, it definitely somewhere happened that way. Therefore, there is nothing wrong with the obedience of an actor to a director; a director, based on the above, doesn’t make mistakes In addition, I am a student of Mark Zakharov, and he was an absolute dictator. He drew up a scene in his head and clearly told everyone how and what to do. He called us universal soldiers who can do anything, nothing is impossible for us. “Whatever I ask you, you do it first. And then you can already wonder whether it was necessary or not.” Demanding Film Director — As a director, I demand obedience from actors. But in part, in rare cases, I allow them to show independence. -
Opinions of Film Critics and Viewers
Alexander Fedorov 100 most popular Soviet television movies and TV series: opinions of film critics and viewers Moscow, 2021 Fedorov A.V. 100 most popular Soviet television movies and TV series: opinions of film critics and viewers. Moscow: "Information for all", 2021. 144 p. What does the list of the hundred most popular Soviet television films and TV series look like? How did the press and viewers evaluate and rate these films? In this monograph, for the first time, an attempt is made to give a panorama of the hundred most popular Soviet television films and serials in the mirror of the opinions of film critics, film critics and viewers. The monograph is intended for high school teachers, students, graduate students, researchers, film critics, film experts, journalists, as well as for a circle of readers who are interested in the problems of cinema, film criticism and film sociology. Reviewer: Professor M.P. Thselyh. © Alexander Fedorov, 2021. 2 TABLE OF CONTENTS Introduction ………………………………….................................................................................... 4 100 most popular Soviet television movies and TV series: opinions of film critics and viewers ……………………………........................................................................................... 5 Interview on the release of the book "One Thousand and One Highest Grossing Soviet Movie: Opinions of Film Critics and Viewers"…………………………………………………………….. 119 List of "100 most popular Soviet television films and TV series.......................................... 125 About -
We Aim Above the Mark to Hit the Mark Ralph Emerson
STRATEGIES FOR BUSINESS IN MOSCOW We aim above the mark to hit the mark Ralph Emerson A PROPOS I will start with two quotes. Here is the first: “We had a with his band Hollywood Vampires. We will hope that this very successful trip to Russia. We made it back.” Here is the time he will have more time to enjoy the city. second: “The only problem that I have coming to Russia is Life in Moscow is becoming better not by waving a magic that there’s never enough time to see and visit everything.” wand. All of this is the result of the city’s authorities imple- The first line comes from the well-known American comic menting programs affecting all corners of life. Transport, Bob Hope, who visited Moscow at the start of the 1960’s. The residential buildings, education, health, safety, sport, tour- second quote came from the famous Hollywood actor Johnny ism, recreation… Even sceptics acknowledge today that Depp, who visited the Moscow capital twice, first in 2011, and these programs are being implemented with success. Not later in 2013. More than half a century had passed between surprisingly, the Moscow Mayor Sobyanin has been for some the two quotes, during which time Moscow changed radically. years now in the first place in national ratings among Rus- Changes today in the capital occur at a such a break-neck sian regional authorities. speed that even a Muscovite could not keep track of them. However, one does not need to look at ratings to understand Almost every day some positive development takes place how Moscow is getting better. -
Festival Organizers
ОРГАНИЗАТОРЫ ФЕСТИВАЛЯ FESTIVAL ORGANIZERS МИНИСТЕРСТВО КУЛЬТУРЫ РОССИЙСКОЙ ФЕДЕРАЦИИ MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION ФОНД ПРЕЗИДЕНТСКИХ ГРАНТОВ FUND OF PRESIDENT’ GRANTS ГЕНЕРАЛЬНЫЙ ПАРТНЕР ФЕСТИВАЛЯ GENERAL PARTNER OF THE FESTIVAL ФОНД МИХАИЛА ПРОХОРОВА MIKHAIL PROKHOROV FOUNDATION ГИЛЬДИЯ КИНОРЕЖИССЕРОВ РОССИИ THE FILM DIRECTORS GUILD OF RUSSIA СОВМЕСТНАЯ ПРОГРАММА РОССИЙСКОЙ ФЕДЕРАЦИИ JOINT THE RF AND OHCHR PROGRAM И УПРАВЛЕНИЯ ВЕРХОВНОГО КОМИССАРА ПО ПРАВАМ ЧЕЛОВЕКА (УВКПЧ ООН) УПРАВЛЕНИЕ ВЕРХОВНОГО КОМИССАРА ООН UNITED NATIONS HIGH COMMISSIONER ПО ДЕЛАМ БЕЖЕНЦЕВ (УВКБ ООН) FOR REFUGEES (UNHCR) ПРОГРАММНЫЙ ОФИС СОВЕТА ЕВРОПЫ В РФ COUNCIL OF EUROPE PROGRAMME OFFICE IN THE RUSSIAN FEDERATION ПОСОЛЬСТВО КОРОЛЕВСТВА НИДЕРЛАНДОВ В РФ EMBASSY OF THE KINGDOM OF THE NETHERLANDS TO THE RF ПОСОЛЬСТВО КАНАДЫ В РФ EMBASSY OF CANADA IN THE RUSSIAN FEDERATION МОСКОВСКАЯ ГИЛЬДИЯ АКТЕРОВ ТЕАТРА И КИНО THE MOSCOW GUILD OF THEATRE AND CINEMA ACTORS Уважаемые друзья! Dear friends! Искренне рад приветствовать участников и гостей XXIII Международного фе- I am genially glad to greet the participants and guests of the XXIII International Film стиваля фильмов о правах человека «Сталкер»! Festival on Human Rights “Stalker”! С первого года своего существования фестиваль привлекает внимание публики Since its first year the Festival has been attracting public attention to the theme of к теме защиты прав и свобод человека, его гражданской ответственности, оказы- protecting human rights and freedoms, the theme of civil responsibility. It renders great вает влияние на формирование правового сознания общества художественными influence to the formation of legal awareness in the society by artistic means of cinema средствами кинематографа. За это время «Сталкер» стал крупнейшим социаль- art. Throughout this period “Stalker” has become the largest and socially important но-значимым форумом отечественного культурного календаря. -
Ru2.020-Vc Russian
University of Wisconsin - Madison Rev: November 15, 2019 Learning Support Services Room 274 Set Call Number: RU2.020-VC RUSSIAN FILMS ON VIDEO (Various distributors, 1990-present) TYPE OF PROGRAM: Russian culture and civilization; film DESCRIPTION: A series of films either produced in Russian, directed by Russian directors, or about Russian subjects: some films are subtitled in English. VIDEOTAPES ARE FOR RESERVE IN THE MEDIA LIBRARY ONLY! Instructors may check them out for up to 24 hours for preview purposes or to show in class. See the Media catalog or NLS for films in other languages. AUDIENCE: Students of Russian, Russian film, Russian literature. Advanced Russian needed for unsubtitled Films. FORMAT: VHS; NTSC CONTENT CALL NUMBER 9th Company RU2.020.206 USSR. 2005. DVD. In Russian w/English subtitles. Color. 140 min. Directed by Fyodor Bondarchuk. Based on real-life events, recounts a year in the shared lives of a group of young soldiers drafted to serve in Afghanistan during the final year of the Soviet conflict. 12 RU2.020.199 Russian 2009. DVD. In Russian w/English subtitles. Color. 160 min. Directed by Nikita Mikhalkov. When a Chechen youth is put on trial for the murder of his stepfather, it’s up to a room full of jurors divided by racism and prejudice to determine the boy’s ultimate fate. 211: Anna RU2.020.205 Italy. 2009. DVD. Color. 90 min. In Russian w/English subtitles. Directed by Paolo Serbadini & Giovanna Massimetti. A documentary of the 211th journalist to be murdered by the democratic government of Russia. Adam's Rib RU2.020.063 1992. -
BORDER CROSSING Russian Literature Into Film
BORDER CROSSING Russian Literature into Film Edited by Alexander Burry and Frederick H. White Border Crossing This book is dedicated to our children: Elliott, Jacob, and Leopold Burry & Ruth Beatrice “Ruby” White Border Crossing Russian Literature into Film Edited by Alexander Burry and Frederick H. White Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting- edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: www.edinburghuniversitypress.com © editorial matter and organization Alexander Burry and Frederick H. White, 2016 © the chapters their several authors, 2016 Edinburgh University Press Ltd The Tun—Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13pt Ehrhardt MT Pro by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 1 4744 1142 4 (hardback) ISBN 978 1 4744 1143 1 (webready PDF) ISBN 978 1 4744 1144 8 (epub) The right of the contributors to be identified as authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498) Acknowledgments Grateful acknowledgment is made to the following sources for permission to reproduce material previously published elsewhere. Every effort has been made to trace the copyright holders, but if any have been inadvertently overlooked, the publisher will be pleased to make the necessary arrangements at the first opportunity.