DOCSLIB.ORG

Enewsletter Oct 2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Enewsletter Oct 2010 EAST EUROPEAN MEMORY STUDIES NO. 1! EAST EUROPEAN MEMORYOCTOBER STUDIES NO. 2010 1 EastEuropean Memory Studies - Welcome to the first edition of our e-newsletter CONTENTS Welcome to East European News from ‘Memory at War: 1 Memory Studies, a new initiative NEWS FROM ‘MEMORY designed to foster collaboration in Cultural Dynamics AT WAR’ and advance the boundaries of the in Poland, Russia An overview of new emerging sub-discipline of East and Ukraine’ developments in our project European Memory Studies. This monthly e-newsletter, produced by Memory at War is an 3 transnational, transdisciplinary DIARY OF the collaborative research project FORTHCOMING EVENTS ‘Memory at War’, aims to provide an collaborative project investigating the interdisciplinary and transnational cultural dynamics of the ‘memory 3 wars’ currently raging in Poland, NEW PUBLICATIONS forum for news and events in the field. Russia and Ukraine. Employing a 4 collaborative methodology grounded OP-ED: We are keen to make contact in the analytical and critical practices MAPPING MEMORY of the humanities, the project seeks EVENTS with scholars working in East Alexander Etkind European Memory Studies, and to explore how public memory of welcome contributions to the twentieth-century traumas mediates 6 newsletter. These might take the the variety of wars in which East MAIA TUROVSKAIA IN European nations develop in post- THE UK form of: socialist space. ‘Memory and Post-War Russian !information on research-in- Cinema’ symposium and progress; The University of Cambridge is screenings, 4-5 November 2010 !calls for papers; (Cambridge) !details on conferences and leading this project, in conjunction publications; with the Universities of Bergen, Helsinki, Tartu and Groningen. The 8 !news of funding and job HELSINKI SYMPOSIUM project was launched in 2010 and ON ‘THE SOVIET STORY’ opportunities in the field. will run for three years. It is funded 2-3 November 2010 (Helsinki) by the Humanities in the European Research Area Joint Research 9 TO SUBMIT AN ITEM OR TO DIGEST OF CURRENT Programme. MEMORY EVENTS SIGN UP FOR OUR MAILING LIST: [email protected] !!1 INVESTOREAST EUROPEAN NEWSLETTER MEMORY ISSUE STUDIES N°3! NO. 1! OCTOBERFALL 20092010 Maria Mälksoo (Principal Investigator, Tartu) launches her book, The Politics of Becoming European: A Study of Polish and Baltic Post-Cold War Security Imaginaries (Routledge, 2010) News from !Nancy Condee (Pittsburgh) conference papers and other ‘Memory at War’ on Russian memory, contemporary resources. cinema and internal colonisation; Cambridge !Harley Balzer (Georgetown) Blog The website also includes links to on the evolution of the memory of the project’s blog: http:// Events the failed August 1991 coup in Memory at War was launched in cambridgeculturalmemory.blogspot.c Russia; and June with a workshop at King’s om/ !Dan Healey (Swansea) on College, Cambridge. The workshop The blog serves as an interactive medicine in gulag memory. featured a keynote lecture by site for students and scholars with an Videos of all three can be found Professor Jay Winter (Yale); a series of interest in cultural memory in on our website. presentations by members of the Eastern Europe. To apply to become Memory at War also organises Memory at War project outlining their a contributor, please email: occasional events on a range of work plans; and a special panel, [email protected]. themes. In early November, the ‘Katy!: The Site and Events of Helsinki team will host a symposium Memory’. Presentations from the Teaching on the film The Soviet Story; and workshop can be accessed online at Alexander Etkind a n d Cambridge will be host to a the project website. Harald Wydra (Cambridge) have symposium on Soviet cinema (details Memory at War runs regular term- been successful in obtaining a Mellon on all events below). time seminars: the East European Teaching Fellowship at CRASSH, which will enable them to run a new Memory Studies Research Website seminar, ‘East European Memory Group seminar at CRASSH in The Memory at War website is Studies: An Emerging Sub- Cambridge; and Europe East and n o w u p a n d r u n n i n g : Discipline’ in Lent Term ( 2011). For West: Film, History and www.memoryat.war.org. The website includes more information, visit Mourning. Speakers so far this term information on our research and www.crassh.cam.ac.uk. have included: events; video podcasts, articles, !!2 INVESTOREAST EUROPEAN NEWSLETTER MEMORY ISSUE STUDIES N°3! NO. 1! OCTOBERFALL 20092010 Bergen conference held at the Nuffield College, ! 17 November, 5:00pm: Oxford University, 17-19 June. This Volodymyr Kulyk (Ukrainian The Bergen-based research paper is due to be published in a volume Academy of Sciences), ‘The Role of project ‘Web Wars: Digital Diasporas the Media in (Re)Shaping Historical edited by the conference organisers Tarak and the Language of Memory’ has Memory in Ukraine’ (East European Barkawi (Cambridge) and Keith Stanski launched its own website. Serving as Memory Studies Research Group (Oxford) in the Hurst Publishers & the project’s virtual home, www.web- seminar, CRASSH, Cambridge) Columbia University Press Critical War wars.org will become a place where Studies series. In August, Maria joined in ! research results are shared, project 23 November: Europe East the discussion on the role of history news is announced, and conference and West: Film, History and plans are published. A discussion politics in Estonian-Russian relations with Mourning, Cambridge) (details forum invites readers to share Matti Jutila, a MAW project colleague TBA) thoughts and ideas related to the from Helsinki University visiting Tallinn ! project theme: the ongoing memory with Helsinki Summer School students. 1 December: Georgiy Kasianov (Ukrainian Academy of Sciences), ‘The wars in Russian and Ukrainian social Great Famine of 1932-33 and the media. On 4-5 October, Maria gave a paper Holodomor: Memory, History, Identity ‘Memory as Ontological Security: and State-Building’; and Meike Wulf Tartu Competing Securitisation of the Soviet (Maastricht), ‘Changing Memory Legacy in Eastern Europe’ at the Nordic Regimes in Eastern Europe’ (East In May 2010, Maria Mälksoo, Senior Network of Memory Studies workshop European Memory Studies Researcher at the Institute of on ‘Memory, History, Identity’ at the Research Group seminar, Government and Politics at the University of Stavanger, Norway. The CRASSH, Cambridge) University of Tartu, Estonia, and the paper will be published in a conference principal investigator of the MAW sub- volume by Lund University in 2011 and ... and beyond project ‘The Power Politics of Memory in will serve as the conceptual platform for Eastern Europe: Securitising the Legacy the MAW workshop at Tartu at the end ! 2-3 November, Memory at War of Communism in Poland, Russia, and of the next year. Workshop on the Film The Soviet Story Ukraine’ gave an invited talk on the (Aleksanteri Institute, University of subject at the Estonian President's Helsinki) (see page 8) Academic Advisory Board meeting. This talk was later published in the Estonian DIARY OF EVENTS More details on all these events can be found at: www.memoryatwar.org foreign policy journal Diplomaatia (currently available in Estonian only at In the UK... http://www.diplomaatia.ee/index.php? id=242&no_cache=1&tx_ttnews NEW PUBLICATIONS ! 3 November, 5:00pm: Dirk [tt_news]=1145&tx_ttnews[backPid] Uffelmann (Passau), ‘Divided ! Matilda Mroz, ‘Restless Bodies, Buried =559&cHash=259bb9ca22). Memory: Poland’s Double Coloniality’; Texts: Sikorski, The General, and the and Julie Buckler (Harvard), ‘The archive’, Studies in Eastern European In June, Maria gave an invited lecture on Material of Culture: Russian Imperial Cinema, 1:2 (2010) Artifacts Playing Soviet and Post-Soviet her research topic to the doctoral students ! Harald Wydra, Communism and the Roles’ (East European Memory of the International Research Training Emergence of Democracy (Cambridge Studies Research Group seminar, Group ‘Baltic Borderlands: Shifting University Press, 2007; paperback CRASSH, Cambridge) Boundaries of Mind and Culture in the edition to be released December 2010) Borderlands of the Baltic Sea Region’ ! 4-5 November: Memory and ! Alexander Etkind and Mark Lipovetsky, visiting Tartu from the University of Post-War Russian Cinema: Film ‘The Salamander’s Return: The Soviet Greisfwald, Germany. She also gave a Critics on the Front Lines (A Catastrophe and the Post-Soviet Novel, paper, ‘Nesting Orientalisms at War: Symposium in Honour of Maia Russian Studies in Literature 46:4 (Fall Turovskaia) (Cambridge) (see page 6) 2010) World War II and the Memory War in Eastern Europe’ at the Orientalism at War !!3 INVESTOREAST EUROPEAN NEWSLETTER MEMORY ISSUE STUDIES N°3! NO. 1! OCTOBERFALL 20092010 MAPPING MEMORY EVENTS IN THE EAST EUROPEAN SPACE OP-ED Alexander Etkind Presented to the Memory at War inaugural workshop, June 2010, King’s College, Cambridge The image shows a protest banner in Poland: ‘The second month is passing [since the Smolensk catastrophe]; is this Poland, or is it Russia already?’. Image source: www.tokfm.pl This project is a large collective enterprise. While secondary to the historical events that they interpret, all of us have individual agendas that are connected to the usually taking place many years or decades later. theme of the project, we are making a rare attempt to work Sometimes, a memory event attains the significance of an together on what we call the emerging discipline of East historical event, therefore blurring the distinction between European Memory Studies. Right now, such a framework the two. But there are also a number of differences. does not exist. Borrowing from the rich tradition of History events – wars, revolutions, murders, discoveries, European Memory Studies exemplified at this workshop by and so on – happen in the present and look to the future. Jay Winter, we are going to test and adjust its concepts in Memory events happen in the present and look to the past. our field. Their cultural genres are many: funerals, repasts, celebrations, revelations, historical debates, museum One aim of this project is to triangulate national openings, geographical namings or rather, renamings, memories.
Load more

Recommended publications
  • Marlen Khutsiev's Films
    FC_72-77_MarlenKhutsiev.qxp_072FC 21/12/2016 03:06 Page 72 BREAKING THE ICE Unsung maestro Marlen Khutsiev channeled the joys and the anxieties roiling within the Soviet soul BY NATHAN DUNNE !" | F ILM COMMENT | January-February 2017 FC_72-77_MarlenKhutsiev.qxp_072FC 21/12/2016 03:06 Page 73 n the second half of marlen khutsiev’s 1965 drama I Am Twenty, a group of students at a party dance gaily among potatoes that have fallen to the floor. Characters are often seen dancing in Khutsiev’s 1960s films, yet this particu- lar scene exemplifies the youthful break of the Khrushchev Thaw from the previous generation’s hardships during World IWar II. Like his fellow revelers, the protagonist of I Am Twenty, Sergei (Valentin Popov), is free of the embittered wartime strug- gle endured by his mother, who had worked night shifts and for- aged for potatoes during the day. Without the pressure of food shortages, this new generation is free to celebrate peacetime with a fond embrace of jazz and Parisian chansons. In I Am Twenty, characters seem to drift effortlessly along pavements, buoyed by the optimism of their youth in the manner of Godard’s Breathless, and yet with a more pronounced sense of lyricism and even expressionism. Of all the major directors that emerged during the Khrushchev Thaw after Stalin’s death, when repression and censorship of artists was relaxed, Khutsiev is perhaps the least well-known outside Russia. He came from a generation that included Andrei Tarkovsky, Sergei Parajanov, Vasiliy Shukshin, Elem Klimov, and Kira Muratova, who together might be called the Soviet New Wave.
    [Show full text]
  • SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
    SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 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 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production.
    [Show full text]
  • Decentering Russia: Challenging the Boundaries with Keynote Lecture by Prof
    Graduate Student Conference in Slavic Studies University of Illinois at Urbana-Champaign April 15-16, 2016 Bevier Hall Commons (Bevier Hall 249) Decentering Russia: Challenging the Boundaries with Keynote Lecture by Prof. Maria Todorova of the History Dept. at UIUC Dedicated to the memory of our friend and colleague Scott K. Maltby ____________________________________________________________________________________ Friday, April 15 11-11:30: Brunch 11:30-11:40: Opening Remarks 11:45-1:35 – Panel 1: Conceptions of the Body: The Unruly, the Profane & the Feminine Chair: Stephanie Chung (UIUC) Discussant: Valeria Sobol Queering the Boundaries of Toilet: Debating Dichotomies and Gender Anxiety in Milan Kundera’s Unbearable Lightness of Being and Georgi Gospodinov’s Natural Novel Nadia Hoppe (UIUC) The Law and the Dying Body: On Brzozowski’s Reading of Kant Dag Alexander Lindskog (UIC) Wife, Mother, Adulteress: Narrating the Female Body in Anna Karenina Serenity Stanton (UIUC) The Twins: Breasts and Homicide in Leskov’s “Lady Macbeth” Leianna Hamel (UIUC) 1:45-2:45 – Panel 2: Drunken Discourses: Identity and Meaning through Addiction Chair: Diana Sacilowski (UIUC) Discussant: George Gasyna (UIUC) A Drunk Journey from ‘Truth’ to ‘Authenticity’: The Recent History of Polish Gonzo Writing Andrzej Brylak (UIC) Alcoholism, Writing Therapy and Search for Identity: Jerzy Pilch’s The Mighty Angel Andrei Gorkovoi (UIC) 2:45-3:10: Coffee break 3:10-4:35 – Panel 3: Ways of Remembering: Memories and Conceptualizations of World War II and the Holocaust
    [Show full text]
  • War Memory Under the Leonid Brezhnev Regime 1965-1974
    1 No One is Forgotten, Nothing is Forgotten: War Memory Under the Leonid Brezhnev Regime 1965-1974 By Yevgeniy Zilberman Adviser: Professor David S. Foglesong An Honors Thesis Submitted To The History Department of Rutgers University School of Arts and Sciences New Brunswick, NJ April, 2012 2 Table of Contents Acknowledgements Pg. 3 Introduction Pg. 5 1964-1967: Building the Cult Pg. 18 a) Forming the Narrative: Building the Plot and Effacing the Details Pg. 21 b) Consecrating the War: Ritual, Monument and Speech Pg. 24 c) Iconography at Work: Soviet War Poster Pg. 34 d) Digitizing the War: On the Cinema Front Pg. 44 1968-1970: Fascism Revived and the Battle for Peace Pg. 53 a) This Changes Everything: Czechoslovakia and its Significance Pg. 55 b) Anti-Fascism: Revanchism and Fear Pg. 59 c) Reviving Peace: The Peace Cult Pg. 71 1970-1974: Realizing Peace Pg. 83 a) Rehabilitating Germany Pg. 85 b) Cinema: Germany and the Second World War on the Film Screen Pg. 88 c) Developing Ostpolitik: War memory and the Foundations for Peace Pg. 95 d) Embracing Peace Pg. 102 Conclusion: Believing the War Cult Pg. 108 Bibliography Pg. 112 3 Acknowledgements Perhaps as a testament to my naivety, when I embarked upon my journey toward writing an honors thesis, I envisioned a leisurely and idyllic trek toward my objective. Instead, I found myself on a road mired with multiple peaks and valleys. The obstacles and impediments were plentiful and my limitations were numerous. Looking back now upon the path I traveled, I realize that I could not have accomplished anything without the assistance of a choice collection of individuals.
    [Show full text]
  • E Sound Space of the City As a Reflection of ''The Spirit of the Times'
    FILM THEORY AND FILM HISTORY | AUDIOVISUAL ARTS e Sound Space of the City as a Reection of ‘‘the Spirit of the Times’’ and the Inner World of the Film Hero Elena A. Rusinova Ph.D in Art Criticism, Associate Professor, S.A. Gerasimov Russian State Institute of Cinematography (VGIK) ABSTRACT: e theme of the artistic image of the city in lm has been repeatedly considered in lm studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specic area of lmmaking as sound directing. e rst aspect is the role of the city in lms as both visual and audio space; the second aspect is the signicance of urban sounds in the creation of the inner world of a lm character. is essay explores the director’s vision of urban space and the possibilities of sound directing in the formation of the inner world of a character and his/her various mental conditions - through the use of sound textures of the urban environment. e author analyses several lms about Georgia’s capital Tbilisi, produced in dierent time periods. e vivid “sound face” of Tbilisi allows one to follow changes in the aesthetic approaches to the use of the city’s sounds for the formation of the image of lm characters in the cultural and historical context of particular lms. e essay concludes that the urban space, with its huge range of sound phenomena, contributes to the formation of a polyphonic phonogram which could bring a lm’s semantics to higher aesthetic and intellectual levels.
    [Show full text]
  • Mediaobrazovanie) Media Education (M Ediaobrazovanie
    Media Education (Mediaobrazovanie) Has been issued since 2005. ISSN 1994–4160. E–ISSN 1994–4195 2020, 60(1). Issued 4 times a year EDITORIAL BOARD Alexander Fedorov (Editor in Chief ), Prof., Ed.D., Rostov State University of Economics (Russia) Imre Szíjártó (Deputy Editor– in– Chief), PhD., Prof., Eszterházy Károly Fõiskola, Department of Film and Media Studies. Eger (Hungary) Ben Bachmair, Ph.D., Prof. i.r. Kassel University (Germany), Honorary Prof. of University of London (UK) Oleg Baranov, Ph.D., Prof., former Prof. of Tver State University Elena Bondarenko, Ph.D., docent of Russian Institute of Cinematography (VGIK), Moscow (Russia) David Buckingham, Ph.D., Prof., Loughborough University (United Kingdom) Emma Camarero, Ph.D., Department of Communication Studies, Universidad Loyola Andalucía (Spain) Irina Chelysheva, Ph.D., Assoc. Prof., Anton Chekhov Taganrog Institute (Russia) Alexei Demidov, head of ICO “Information for All”, Moscow (Russia) Svetlana Gudilina, Ph.D., Russian Academy of Education, Moscow (Russia) Tessa Jolls, President and CEO, Center for Media Literacy (USA) Nikolai Khilko, Ph.D., Omsk State University (Russia) Natalia Kirillova, Ph.D., Prof., Ural State University, Yekaterinburg (Russia) Sergei Korkonosenko, Ph.D., Prof., faculty of journalism, St– Petersburg State University (Russia) Alexander Korochensky, Ph.D., Prof., faculty of journalism, Belgorod State University (Russia) W. James Potter, Ph.D., Prof., University of California at Santa Barbara (USA) Robyn Quin, Ph.D., Prof., Curtin University, Bentley, WA (Australia) Alexander Sharikov, Ph.D., Prof. The Higher School of Economics, Moscow (Russia) Vladimir Sobkin, Acad., Ph.D., Prof., Head of Sociology Research Center, Moscow (Russia) Kathleen Tyner, Assoc. Prof., Department of Radio– Television– Film, The University of Texas at Austin (USA) Svetlana Urazova, PhD., Assoc.
    [Show full text]
  • 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.
    [Show full text]
  • Russian Cinema: a Very Short Story
    Zhurnal ministerstva narodnogo prosveshcheniya, 2018, 5(2) Copyright © 2018 by Academic Publishing House Researcher s.r.o. Published in the Slovak Republic Zhurnal ministerstva narodnogo prosveshcheniya Has been issued since 2014. E-ISSN: 2413-7294 2018, 5(2): 82-97 DOI: 10.13187/zhmnp.2018.2.82 www.ejournal18.com Russian Cinema: A Very Short Story Alexander Fedorov a , a Rostov State University of Economics, Russian Federation Abstract The article about main lines of russian feature film history: from 1898 to modern times. The history of Russian cinema goes back more than a century, it knew the stages of rise and fall, ideological repression and complete creative freedom. This controversial history was studied by both Russian and foreign scientists. Of course, Soviet and Western scientists studied Soviet cinema from different ideological positions. Soviet filmmakers were generally active in supporting socialist realism in cinema, while Western scholars, on the contrary, rejected this method and paid great attention to the Soviet film avant-garde of the 1920s. After the collapse of the Soviet Union, the situation changed: russian and foreign film historians began to study cinema in a similar methodological manner, focusing on both ideological and socio-cultural aspects of the cinematographic process. Keywords: history, film, movie, cinema, USSR, Russia, film historians, film studies. 1. Introduction Birth of the Russian "Great Mute" (1898–1917). It is known that the French brought the movies to Russia. It was at the beginning of 1896. However, many Russian photographers were able to quickly learn a new craft. Already in 1898, documentary plots were shot not only by foreign, but also by Russian operators.
    [Show full text]
  • 17. Kinofikatsia BUENO
    Kinofikatsia cubana y sus fantasmas. Inventario de la presencia (y de la ausencia) del cine soviético en las pantallas de Cuba (1961-1991) Cuban Kinofikatsia and its Ghosts. Inventory of the Presence (and absence) of Soviet Cinema in Cuban Screens (1961-1991) CARLOS MUGUIRO ALTUNA Universidad de Navarra · [email protected] Profesor de Estética y de Comisariado y programación cinematográfica en la Universidad de Navarra. Director de la especialidad de cine documental de la Escuela de Cine de Madrid. Doctor en Humanidades en el Departamento de Estudios Eslavos de la Universidad Pompeu Fabra, donde ha desarrollado su actividad investigadora en torno a la representación de la naturaleza y el paisaje en el cine ruso-soviético. Ha publicado, entre otros títulos, Ver sin Vértov. Cincuenta años de cine de no-ficción en Rusia y la URSS y co-editado Alan Berliner. The Man Without the Movie Camara. RECIBIDO: 5 DE MAYO DE 2015 ACEPTADO: 5 DE JUNIO DE 2015 Resumen: Entre 1961 y 1991, aproximadamente Abstract: Between 1961 and 1991, approximately 800 largometrajes soviéticos fueron estrenados en los 800 different Soviet feature films were screened in cines comerciales de Cuba, lo que significa que en la commercial cinemas in Cuba, meaning that a isla se distribuyó buena parte de la producción significant number of the films made in the USSR in cinematográfica de la URSS de ese periodo. A su vez, the period were shown in the island. The Cinemateca la Cinemateca de Cuba organizó en ese tiempo más de de Cuba also organized more than 2,000 different 2.000 sesiones diferentes dedicadas al cine soviético, sessions on Soviet film and the archives of the ICAIC lo que le permitió reunir en sus fondos, poco a poco, la (Cuban Institute of Cinematographic Art and mayor colección de cine soviético del hemisferio Industry) gradually amassing all this material, came to occidental.
    [Show full text]
  • Dear Friends! on Behalf of Ministry of Culture of the Russian Federation I
    ƒÓÓ„Ë ‰ÛÁ¸ˇ! Dear friends! ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ –ÓÒÒËÈÒÍÓÈ On behalf of Ministry of Culture of the Russian ‘‰‡ˆËË ÔÓÁ‰‡‚Ρ˛ ‚‡Ò Ò Ì‡˜‡ÎÓÏ ‡·ÓÚ˚ Federation I would like to congratulate you all on 19-„Ó ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ the opening of the 19-th Open Russian Film "üËÌÓÚ‡‚". Festival "Kinotavr". ‘ÂÒÚË‚‡Î¸ ‚ —Ó˜Ë ‚Ò„‰‡ ·˚Î Ò‡Ï˚Ï ˇÍËÏ, The Festival in Sochi has always been the most Ò‡Ï˚Ï ÓÊˉ‡ÂÏ˚Ï, Ò‡Ï˚Ï Î˛·ËÏ˚Ï vivid, most anticipated, most admired and most Ô‡Á‰ÌËÍÓÏ Ë ÒÓ·˚ÚËÂÏ Ì‡ˆËÓ̇θÌÓ„Ó ÍËÌÓ. celebrated event for national cinema. But it is Œ‰Ì‡ÍÓ ËÏÂÌÌÓ ÚÂÔ¸, ̇ ‚ÓÎÌ ‡Òˆ‚ÂÚ‡ only now when domestic film industry is ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓËÒÍÛÒÒÚ‚‡, "üËÌÓÚ‡‚" blooming, "Kinotavr" has become the main ÒÚ‡ÌÓ‚ËÚÒˇ „·‚ÌÓÈ ÔÓÙÂÒÒËÓ̇θÌÓÈ professional platform for the first-night showings, Ô·ÚÙÓÏÓÈ ‰Îˇ ÔÂϸÂÌ˚ı ÔÓÒÏÓÚÓ‚, meetings and discussions for all creative ‚ÒÚ˜ Ë ‰ËÒÍÛÒÒËÈ ‚ÒÂı Ú‚Ó˜ÂÒÍËı ÔÓÍÓÎÂÌËÈ generations of Russian cinematographers. ÓÒÒËÈÒÍËı ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚. Participation in festival's programme is already an ”˜‡ÒÚË ‚ ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏ "üËÌÓÚ‡‚‡" achievement, already success for every creative Ò‡ÏÓ ÔÓ Ò· ˇ‚ΡÂÚÒˇ ÛÒÔÂıÓÏ ‰Îˇ ÒÓÁ‰‡ÚÂÎÂÈ person in our film industry. To win at "Kinotavr" ͇ʉÓÈ ËÁ ‚˚·‡ÌÌ˚ı ÎÂÌÚ. œÓ·Â‰‡ ̇ beyond doubt means to receive the best ever proof "üËÌÓÚ‡‚Â" ÒÚ‡ÌÓ‚ËÚÒˇ ·ÂÒÒÔÓÌ˚Ï of innovation and craftsmanship and excellence.
    [Show full text]
  • Material in Cataloguing Page 1
    14 September 2021 SSEES DVD collection – material in cataloguing Page 1 SSEES DVD COLLECTION – MATERIAL IN CATALOGUING Last updated 13 September 2021 The DVDs, Blu-ray discs and discs recorded from Russian television (“RDs”) listed here are all in the process of cataloguing. You can search this document by typing in the original title of the film you are looking for. Sometimes there are more than one copy of the same material, perhaps with and without English subtitles, perhaps of differing quality. Though the discs listed here are not yet in the full catalogue or the indexes, they are on the shelves and are available for use. Just ask for them at the Library issue desk in the usual way by giving the Call number. To get full credits for any of the titles listed here, go to the appropriate document in the list entitled “Full credits for DVD-xxxx to DVD-xxx” and search by Call number or by title. DVDs and Blu ray discs There are 520 DVDs and Blu ray discs listed here, Nos. 5641-6160 Titles are given in the original language and in English. Much of the material is in English. Of the material in other languages, much has (optional) English subtitles. This is indicated. (Sometimes these discs have additional subtitles in other languages.) If there are no subtitles on non-English material, this is indicated. Material recorded from Russian television (RDs) There are 507 recorded discs listed here, Nos. 651-1157 The material recorded from Russian television is not subtitled ====================================================== DVDs and Blu-ray discs DVD-5641 Abdrashitov - Okhota na lis [Fox Hunting] No subtitles DVD-5642 Basova, O.
    [Show full text]
  • EYES WIDE OPEN .\' F
    ESSA EYES WIDE OPEN .\' f.. L' 1 (Tl. ·\ C.' 1 1 1· '11 1 1 I) 1 I-) (") I? ·\ \P :\ /\ S (_) : .. .I.'; r1. .J . .. 1F .,:J i-.s ·..r (" _; I)F·.\, .JV1'' .. s~ · 1. s~ r1i. ... 1 l .F..:J . .: i.N '... • . I·. '\' .r .. I).\, BY GREGORY FREID IN Old films are like a message in a bottle, mysterious and enchanting, even more so if written in a hidden code to elude the censor. Great Soviet filmmakers from Eisenstein to Muratova have made such coding part of their cinematic aesthetic. Marlen Khutsiev is among them. Khutsiev (his given name is a contrac­ tion of MARxLENin) was born in 1925 in Tbilisi, Georgia, to an actress mother and a Bolshevik revolutionary father who per­ ished, like many, in the Stalinist purges. A graduate of the venerable Russian film school VGIK (1952), he became famous in 1956 with his third film, Spring on Za­ rechnaya Street.(with _Fe~~s _ ~!i:C>~t:~). Khutsiev is now working on his 13th film-about an encounter between Anton Chekhov and Leo Tolstoy. He is , perhaps, with Tchaikovsky's Manfred (the theme of Early in the evening, the young lieu­ The film's final segment holds the key best known for his 1961 film,/ Am Twenty , tormenting memories) and culminating in tenant is summoned by his superior to a to the hidden code. Like the introduction, it with its echoes of La Nouvelle Vague and the hoisting of the Red flag over the Reich­ nearby estate to celebrate the end of the consists of a montage of documentary foot­ Francois Truffaut, and July Rain (1966), stag.
    [Show full text]