Seventeen Moments of Spring

Total Page:16

File Type:pdf, Size:1020Kb

Seventeen Moments of Spring Seventeen moments of spring Continue This article can be expanded by text translated from the relevant article into Russian language. (August 2019) Click show important translation instructions. View the machine version of the Russian article. Machine translation, such as DeepL or Google Translate, is a useful starting point for translations, but translators should review errors as needed and confirm that the translation is accurate, rather than simply copying machine text to English Wikipedia. Don't translate text that seems unreliable or substandard. If possible, show the text with references in a foreign language article. You must provide a copyright attribution in the editing summary accompanying your translation by providing a link to the source of your translation. The attribution model to edit summary Content in this editing translates from the existing Russian Wikipedia article to see your story for assignment. You should also add a Translatedru template to the Conversation page. For more advice, visit Wikipedia: Translation. Seventeen Moments of SpringRussian DVD CoverGenreEspionage Thriller Created by Julian Semenov Based OnProfile Moments Springby Ulyana SemenovaScreenplay by Julian SemenovTatyan LioznovaDirect tatiana LioznovaStarring Vyacheslav Tikhonov Joseph KopelyanLeoneid BronevaCaterina GradovaRostislav PlattNared by Joseph KopelianTemsky composerMikael TariverdievCountry of originSoviet UnionOriginal language (s) RussianNet. episodes12ProductionProducer (s)Efim Lebedinsky zinovich GenzerCinematographyPyotr KataevEditor (s) Ksenia BlinovaUnning time840 minutesProduction company (s) Gorkovskaya Film StudioReoriginal NetworkProgram OneOriginal release 8 July (1973-1973-1973-1973-1977 August 24, 1973 (1973-08- 24)External referencesWeses Seventeen Moments of Spring (Russian: 1973- semnadtsat' mgnoveniy vesny) - Soviet twelve-night television series 1973, directed by Tatiana Lioznova and based on the novel of the same name by The Name. The series depicts the exploits of Maxim Isaev, a Soviet spy acting in Nazi Germany under the name Max Otto von Stirlitz, as Vyacheslav Tikhonov. Stirlitz was planted in 1927, long before the Nazi takeover of pre-war Germany. He is then recruited to the NSDAP and rose through the ranks, becoming an important Nazi foreign intelligence officer. He recruits several agents from the dissidents of the German intelligentsia and persecuted clergy, and operates through an agency network. Stirlitz discovers, and then schemes to thwart, secret negotiations between Carl Wolfe and Allen Dulles taking place in Switzerland aimed at forming a separate world between Germany and Allies. Meanwhile, the Gestapo under the leadership of Heinrich Mueller is looking for an unidentified Soviet resident spy and his ring. To avoid the capture of Stirlitz, cunningly maneuvers among the powerful Nazis and pulls the strings of his network. The series is considered the most successful Soviet spy thriller in history and one of the most popular television series in Soviet history. Two songs from the series, Moments and Song of the Distant Motherland, became very popular. Plot February 12, 1945, Germany. Max Otto von Stirlitz, a respected SS-Standardenfuhrer in the Ausland-SD, is actually a Soviet spy Maxim Isayev, who infiltrated the German institution many years ago. Although Adolf Hitler is determined to continue world War II, Walter Schellenberg convinces Heinrich Himmler to negotiate secretly with the Americans, hoping to reach a separate peace agreement that would allow the Germans to concentrate all their forces on the Eastern Front. Meanwhile, Ernst Kaltenbrunner is suspicious of Stirlitz and orders Heinrich Mueller to launch a secret investigation against him. Moscow ordered Stirlitz to find out whether the Americans and Germans have a backdoor channel, and if so, to derail any possible agreement. His mission is complicated when the house of his assistants, radio operators Erwin and Catherine Kinn, bombed. Erwin was killed and his pregnant wife was taken to the hospital, threatening to compromise Stirlitz. He recruits two new aides - Professor Pleishner, a former member of the German Resistance, and Pastor Schlag, a cleric who disapproves of the regime. All the while Stirlitz must enter into a battle of minds with Mueller, who seeks to expose him as an enemy agent. It must also maneuver between the warring factions within the Directorate General of Security, as various high-ranking officials are fighting for power. Realizing that Himmler and Schellenberg sent Carl Wolff to negotiate with Allen Dulles in neutral Switzerland, Stirlitz, playing on the rivalry between The Nazi captivity, succeeds in leaking details of negotiations conducted under the code name Operation Crossword, both Hitler and Stalin. The councils that now have evidence are demanding that these contacts be terminated, and President Roosevelt must oblige them. Himmler narrowly convinces Hitler that this was just an attempt to sow distrust among the Allies. On March 24, 1945, Stirlitz, who managed to clear up all suspicions against him, returned to his duties. The Red Army is steadily approaching Berlin. Starring Vyacheslav Tikhonov - Max Otto von Stirlitz Evgeny Evstigneev - Professor Pleishner Lev Durov - Klaus Svetlana Svetlichskaya - Gabi Nabel Nikolai Volkov - Erwin Kinn Ekaterina Gradova - Ekaterina Kinn Oleg Tabakov - Walter Schellenberg Leonid Broneva Emilia Milton as Ms. Saurich Otto Mellis as Helmut Calder Olga Soshnikova as Barbara Krein Nikolai Prokopovich as Heinrich Himmler Evgeny Kuznetsov as Friedrich-Wilhelm Kruger Edward Izotov as Rudolf Smundt Vladimir Udalov as Wilhelm Burgdorf Rostislav Platt as Pastor Fritz Schlag Diez - Adolf Hitler Vasily Lanova - Karl Wolf Valentin Gaft - Gavernitz Vladimir Koenigson - Krause Eleanor Shashkova - Wife of Isaev Alexey Safonov - Wilhelm Burmeyer - Hermann Goering Jan Janakiev - Evgeny Dollmann Vyacheslav Shalevich - Allen Dulles Alexey Eibozhenko - Vladimir Guzman Speer Production Von in the late 1960s, After Yuri Andropov became chairman of the Soviet Union's State Security Committee, he launched a campaign to improve the image of the service, which was primarily related to his role in the political repression carried out by the government. Andropov encouraged a series of novels, songs, films and other works glorifying KGB agents, focusing on those who serve abroad - mainly in the hope of attracting young and educated recruits to the organization. The television production of Seventeen Moments of Spring was part of this trend. In 1965, the author of books on espionage, the author of books on espionage, wrote the novel No Password Required, in which he first introduced the character Vsevolod Vladimirov - a young agent Chek, who penetrates into the headquarters of Admiral Alexander Kolchak under the pseudonym Maxim Isayev. No password Required has become successful with readers. It was adapted for the screen in 1967, and the film of the same name attracted more than 20 million viewers. In the same year, Semenov published the sequel Major Whirlwind. In 1968, he was invited to a meeting with Andropov, who told him that he did not read the password and enjoyed it. The third novel with Isaev's Seventeen Moments of Spring was inspired by the chairman's proposal; Semenov recorded it in less than two weeks. In the new book, Isaev was - for the first time - the main character working inside German intelligence under the guise of an SS Stirlitz officer. Already in 1969, even before publication, it was decided to turn it into a television series. Stirlitz's character reflected Andropov's own conception of the ideal Soviet spy: he was a calculating, modest, devoted to his country and above all an intellectual who fulfilled his mission by outsmarting his enemies. He was first of all, though not exclusively and in free form, the Gestapo officer turned Soviet agent, Willie Lehmann. The U.S.-German negotiations thwarted by Stirlitz were modelled on the real agreement reached by Allen Dulles and Carl Wolf in 1945, which led to the surrender of the Wehrmacht in northern Italy on May 2, 1945. The show's creators may have known about the 1958 film Two-Headed Spy, in which a high-ranking German general is indeed a British spy, and he has a performer who encodes secret messages into piano accompaniment. The film also features Ernst Kaltenbrunner and Heinrich Mueller, whose interactions with the spy are reflected in Seventeen Moments of Spring, in a rather surprising resemblance. Tatiana Lioznova, director of development of the Gorky film studio, encountered Seventeen Moments of Spring after reading an excerpt from it in the magazine Banner; she decided that she would adapt it for the screen. By that time, Semenov had already successfully agreed with Lenfilm to produce the series. Lioznova put a lot of pressure on him and eventually convinced the author to terminate the contract with the Leningrad company. Semenov wrote a letter to the chairman of the State Committee on television and radio Sergey Lapin and asked to allow Gorky's studio to take over the project. Lioznova made several changes to Semenov's material: she was referring to the character of Ms. Saurich, an elderly German with whom Stirlitz had to talk from time to time to make him more accommodating; the author hesitantly dragged her and wrote several such scenes. Actress Faina Ranevskaya, to whom the director offered the role, refused to perform it, saying that it was terrible nonsense. Eventually, Lioznova decided to improvise during filming
Recommended publications
  • Npr 3.2: Nuclear-Related Trade and Cooperation
    Nuclear Developments NUCLEAR-RELATED TRADE AND COOPERATION DEVELOPMENTS FOR SELECTED STATES, JULY-OCTOBER 1995 CONTENTS OVERVIEW, 97 France, Japan, United COMMONWEALTH OF FRANCE Kingdom, and U.S., 118 INDEPENDENT STATES with ALGERIA Russia, 119 with Belgium, Canada, Germany, with Iran, 108 Russia, and United King- PRC, 99 BRAZIL dom, 141 Internal Developments, 102 CUBA ARGENTINA Belgium, Finland, and with Internal Developments, 104 with Ukraine, 154 Argentina, 99 with Brazil, 99 Belgium, Japan, United Argentina, Cuba, and Argentina, Brazil, and Brazil, Cuba, and Mexico, 99 Kingdom, and U.S., 118 Mexico, 99 Mexico, 99 Israel and United States, 99 Cuba (Juragua Plant), 104 Germany, 103 Juragua Plant Participants South Korea, 99 Japan, 119 India, Indonesia, PRC and (Brazil, France, Germany, Syria, 99 Kazakhstan, 121 Russia, 103 Italy, Russia, and United United States, 100 PRC, 133 Russia, 103 Kingdom), 104 PRC and United Kingdom, 133 United States, 103 Mexico, 105 ARMENIA Russia, 142 with BULGARIA CZECH REPUBLIC South Korea and U.S., 151 ISTC, 100 with with Ukraine, 154 Russia and Ukraine, 141 Iran, 108 ASSOCIATION OF SOUTH GEORGIA EAST ASIAN NATIONS Russia and Slovakia, 142 CAMBODIA with (ASEAN) Ukraine, 154 with IAEA, 106 Internal Developments, 100 Thailand and Vietnam, 153 EGYPT ISTC, 100 BELARUS Internal Developments, 105 CANADA GERMANY with with ESTONIA with Estonia and Ukraine, 101 Belgium, France, Germany, with Belgium, Canada, France, Iran, 101 Russia, and U.K., 141 Belarus and Ukraine, 101 Russia, and U.K., 141 ISTC, 100 Japan,
    [Show full text]
  • Botsl#5 2013 Jun 10 12:30 PM Mike Sperlinger: Seventeen Types of Ambiguity
    BoTSL#5 2013 JUN 10 12:30 PM Mike Sperlinger: SEVENTEEN TYPES OF AMBIGUITY This bulletin would like to grow up to be a New Yorker article. It was researched in complete ignorance of the Russian language, and relied on the generosity of a number of people including Sergei Kostin, Alexander Ostrogorsky, Olga Semyonova, Sergei Stafeev, and, in particular, Sophio Medoidze. All photographs of Julian Semyonov are courtesy of his daughter, Olga Semyonova. With apologies to William Empson Cover image: poster design for Seventeen Moments of Spring by Alexander Zhuravskiy. Reproduced with kind permission BoTSL#5 2013 JUN 10 12:30 PM 2 Mike Sperlinger: SEVENTEEN TYPES OF AMBIGUITY The Gestapo intercepted an encrypted message which read: “Justas, you asshole. Alex.” Only Stirlitz could figure out that he had been conferred the rank of the Hero of the Soviet Union. On February 8, 2003, Vladimir Putin awarded the Order for Merit to the Fatherland, Class III, to the actor Vyacheslav Tikhonov. It was Tikhonov’s 75th birthday. Tikhonov had enjoyed a long career on stage and in film, but no one was under any illusions for what role he was receiving this honor — the same one, in fact, for which he had received a medal as a Hero of Socialist Labor from the Soviet premier Leonid Brezhnev in 1982, which was already nine years after the fact. Tikhonov was synonymous with the role of Max Otto von Stirlitz — a.k.a.“Justas,” a.k.a. Maxim Maximovich Isaev, secret agent of Moscow Center — in the television series Seventeen Moments of Spring.
    [Show full text]
  • Mikhail Gorbachev and His Role in the Peaceful Solution of the Cold War
    City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2011 Mikhail Gorbachev and His Role in the Peaceful Solution of the Cold War Natalia Zemtsova CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/49 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Mikhail Gorbachev and His Role in the Peaceful Solution of the Cold War Natalia Zemtsova May 2011 Master’s Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of International Affairs at the City College of New York Advisor: Jean Krasno ABSTRACT The role of a political leader has always been important for understanding both domestic and world politics. The most significant historical events are usually associated in our minds with the images of the people who were directly involved and who were in charge of the most crucial decisions at that particular moment in time. Thus, analyzing the American Civil War, we always mention the great role and the achievements of Abraham Lincoln as the president of the United States. We cannot forget about the actions of such charismatic leaders as Adolf Hitler, Josef Stalin, Winston Churchill, and Franklin D. Roosevelt when we think about the brutal events and the outcome of the World War II. Or, for example, the Cuban Missile Crisis and its peaceful solution went down in history highlighting roles of John F.
    [Show full text]
  • Ernst Thälmann – Führer Seiner Klasse (1955) Propaganda Für Arbeiterklasse, Partei Und Heroismus
    Ernst thälmann – FührEr sEinEr KlassE (1955) Propaganda für Arbeiterklasse, Partei und Heroismus 1 FilmographischE angabEn . 3 2 Filminhalt . 3 3 HistorischE KontExtualisiErung . 5 4 DiDaKtischE übErlEgungEn . 8 5 ArbEitsanrEgungEn . 11. 6 MatErial . 13 Material 1: Was ist Propaganda? . 13 Material 2: Ernst Thälmann – historische Figur und Mythos . 14 Material 3: Historische Traditionen der SED . 17 Material 4: Umgang der SED mit der nationalsozialistischen Vergangenheit . 20 Material 5: Produktionsbedingungen des Films . 21 Material 6: Propaganda oder Wirklichkeit? . 24 Material 7: Filmische Mittel des Propaganda-Films und ihre Wirkung . 25 Material 8: Zeitgenössische Kritiken des Films . 28 7 LitEratur . 29 2 Unterrichtsmaterial Ernst Thälmann – Führer seiner Klasse www.ddr-im-film.de 1 FilmographischE angabEn Regie Kurt Maetzig Drehbuch Willi Bredel, Michael Tschesno-Hell, Kurt Maetzig Kamera Karl Plint- zner, Horst E. Brandt schnitt Lena Neumann Musik Wilhelm Neef bauten Otto Erdmann, Willy Schiller, Alfred Hirschmeier Kostüme Gerhard Kaddatz produktion DEFA-Studio für Spielfilme (Potsdam-Babelsberg) uraufführung 07.10.1955, Ost-Berlin/Volksbühne Länge 140 Minuten FsK ab 12 Auszeichnungen Karlovy-Vary-Filmfestival 1956: Preis für den be- sten Schauspieler an Günther Simon Darstellerinnen | Darsteller Günther Simon (Ernst Thälmann), Hans-Peter Minetti (Fiete Jansen), Karla Runkehl (Änne Jansen), Paul R. Henker (Robert Dirhagen), Hans Wehrl (Wilhelm Pieck), Karl Brenk (Walter Ulbricht), Michel Piccoli (Maurice Rouger) Gerd Wehr (Wilhelm Florin), Walter Mar- tin (Hermann Matern), Georges Stanescu (Georgi Dimitroff), Carla Hoffmann (Rosa Thälmann), Erich Franz (Arthur Vierbreiter), Raimund Schelcher (Krischan Daik), Fritz Diez (Hitler), Hans Stuhr- mann (Goebbels) u.a. 2 Filminhalt Der Film behandelt das Leben des Vorsitzenden der Kommunistischen Partei Deutschlands, Ernst Thälmann, in den Jahren von 1930 bis zu seinem Tode 1944.
    [Show full text]
  • Pamięć Lat Nazizmu W Niemieckim Filmie Fabularnym Lat 1946-1955
    http://dx.doi.org/10.18778/7969-559-1 Konrad Klejsa – Uniwersytet Łódzki, Wydział Filologiczny Katedra Mediów i Kultury Audiowizualnej, Zakład Historii i Teorii Filmu 90-236 Łódź, ul. Pomorska nr 171/173 RECENZENT Ewelina Nurczyńska-Fidelska REDAKTOR INICJUJĄCY Urszula Dzieciątkowska REDAKTOR WYDAWNICTWA UŁ Katarzyna Gorzkowska SKŁAD I ŁAMANIE Oficyna Wydawnicza Edytor.org Lidia Ciecierska PRZYGOTOWANIE KADRÓW FILMOWYCH Mikołaj Zacharow PROJEKT OKŁADKI Adrian Dutkowski Na okładce wykorzystano kadr z filmu Przygody Wernera Holta (reż. Joachim Kunert, NRD 1965) Publikacja powstała w ramach grantu Narodowego Centrum Nauki przyznanego na podstawie decyzji nr 4298/B/H03/2011/40 © Copyright by Uniwersytet Łódzki, Łódź 2015 © Copyright for this edition by Wydawnictwo Biblioteki PWSFTviT, Łódź 2015 Wydane przez Wydawnictwo Uniwersytetu Łódzkiego i Wydawnictwo Biblioteki PWSFTviT Wydanie I. W.06773.14.0.M Ark. wyd. 27,0; ark. druk. 26,125 Wydawnictwo Uniwersytetu Łódzkiego: ISBN 978-83-7969-559-1 e-ISBN 978-83-7969-560-7 Wydawnictwo Biblioteki PWSFTviT: ISBN 978-83-87870-93-5 Spis treści Podziękowania 7 Wprowadzenie 9 Rozdział I. Okres 1945–1949: kino doby denazyfikacji w strefach okupowanych Niemiec 37 1.1. Mordercy są wśród nas: traumy pośród ruin 60 1.2. Projektowanie modelowej przeszłości 80 1.3. W kostiumie melodramatu 87 1.4. Między pokoleniami 95 1.5. Problem antysemityzmu 108 1.6. Obrazy obozów 111 Rozdział II. Kino Niemieckiej Republiki Demokratycznej do 1965 roku: antyfa- szyzm jako doktryna 123 2.1. Bohaterscy oponenci Hitlera 136 2.2. Honor munduru 153 2.3. Nowi sojusznicy: ZSRR 166 2.4. Wróg zewnętrzny: mordercy są wśród nich 171 2.5. Kraj po denazyfikacji: NRD jako alternatywa 183 2.6.
    [Show full text]
  • In the Soviet Cinema of the Cold War
    Diacronie Studi di Storia Contemporanea N° 30, 2 | 2017 Ponti fra nazioni e continenti Spy and Counterspy as a “Cultural Hero” in the Soviet Cinema of the Cold War Viktoria A. Sukovataya Electronic version URL: http://journals.openedition.org/diacronie/5689 DOI: 10.4000/diacronie.5689 ISSN: 2038-0925 Publisher Association culturelle Diacronie Electronic reference Viktoria A. Sukovataya, « Spy and Counterspy as a “Cultural Hero” in the Soviet Cinema of the Cold War », Diacronie [Online], N° 30, 2 | 2017, document 3, Online since 29 July 2017, connection on 19 April 2019. URL : http://journals.openedition.org/diacronie/5689 ; DOI : 10.4000/diacronie.5689 Creative Commons License Diacronie Studi di Storia Contemporanea 30, 2/2017 Ponti fra nazioni e continenti: diplomazia, immaginari e conoscenze tecniche Spy and Counterspy as a “Cultural Hero” in the Soviet Cinema of the Cold War Viktoria A. SUKOVATAYA Per citare questo articolo: SUKOVATAYA, Viktoria A., «Spy and Counterspy as a “Cultural Hero” in the Soviet Cinema of the Cold War», Diacronie. Studi di Storia Contemporanea : Ponti fra nazioni e continenti: diplomazia, immaginari e conoscenze tecniche, 30, 2/2017, 29/7/2017, URL: < http://www.studistorici.com/2017/07/29/sukovataya_numero_30/ > Diacronie Studi di Storia Contemporanea → http://www.diacronie.it Rivista storica online. Uscita trimestrale. [email protected] Comitato di direzione: Naor Ben-Yehoyada – João Fábio Bertonha – Christopher Denis-Delacour – Maximiliano Fuentes Codera – Anders Granås Kjøstvedt – John Paul Newman – Deborah Paci – Niccolò Pianciola – Spyridon Ploumidis – Wilko Graf Von Hardenberg Comitato di redazione: Jacopo Bassi – Luca Bufarale – Gianluca Canè – Fausto Pietrancosta – Alessandro Salvador – Matteo Tomasoni Diritti: gli articoli di Diacronie.
    [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]
  • 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]
  • Fall 2019 Advance Publicity Announcing the New All-Access Pass!
    For Immediate Release For more information, Please contact Mary Fessenden At 607.255.3883 Fall 2019 Advance Publicity (Aug 26 – Nov 19) All films open to the public Ticket Prices: $9.50 general admission/$7.50 seniors/ $7 students/$5.50 CU graduate students and kids 12 & under $7 general/$5.50 students for matinees (before 6:00pm) Special event prices may apply Advance tickets available at CornellCinemaTickets.com Announcing the new All-Access Pass! This Fall Cornell Cinema introduces a new All-Access Pass that will give patrons access to all regularly priced screenings for the entire academic year (over 150 titles!) for one low price. Pricing is almost too good to be true: CU graduate & professional students - $10 All other students - $20 Community members (including faculty & staff) - $30 There will be certain special events for which the pass cannot be used, although having the pass will likely provide the holder with a discount on the special ticket price. Read the fine print! All-Access Passes can be purchased online at cinema.cornell.edu as of August 15, at Cornell Cinema’s Open Houses (in Willard Straight Theatre) on August 23 & 24, or at the box office before shows. Purchasing in advance online is highly recommended. All screenings in Willard Straight Theatre except where noted Many films will feature faculty or graduate student introductions For more information visit http://cinema.cornell.edu Cornell Cinema Open Houses Friday, August 23 10:00 - 2:00 Saturday, August 24 10:00 – noon Free to all Visit the historic Willard Straight Theatre, home of Cornell Cinema, considered one of the best campus film exhibition programs in the country, screening >150 different films throughout the academic year.
    [Show full text]
  • Larouche Upstages Plenum on Moscow TV
    Click here for Full Issue of EIR Volume 14, Number 6, February 6, 1987 countries ....and listen to what their leader in the United States,Lyndon LaRouche,says." Then,a Russian actor is trotted out,portraying LaRouche,with the following lines (paraphrase): "Gorbachovtries to foolyou. He talks of peace, LaRouche upstages but really wants war.He wants to attack the West." Striking­ TV ly,for Soviet TV,LaRouche was also portrayed calling Gor­ plenum on Moscow bachov,"the Devil. " In the"telespectacular" (as Izvestia called it),three prom­ inent Soviet actors were used: Vyacheslav Tikhonov,imper­ by Luba George sonating the Swedish police chief Holmer; the 59-year-old actor Oleg Yefremov,impersonating Olof Palme; and the Timed with the Soviet Central Committee Plenum,held on third,Ion Inguriu, impersonating Lyndon LaRouche. Actor Jan.27 and 28, Soviet television showed a 55-minute film, Yefremov,who also directed the show,was recently appoint­ "Who Killed Olof Palme?" twice: at 8 p.m.on the evening ed at the behest of Gorbachov's wife, Raisa, to secretary of Jan.27, and again on the morning of the 28th.The film general of the newly formed All-Union Theater group.He focused on re-running the Soviet TV slander of March 21, collaborated closely with Raisa to found the Soviet Culture 1986, accusing U.S. presidential candidate Lyndon La­ Fund. Rouche and his Swedish associates,the EAP (European La­ The chairman of the Gostelradio (Soviet National TV and bor Party) of "involvement " in the murder. The evening Radio network) is Alexander Nikiforovich Aksenov, "offi­ showing was especiallystriking: LaRouchedirectly preceded cially " in the KGB until 1971.He too,like Yefremov,was the "Vremya " news feature on Gorbachov's Plenum speech.
    [Show full text]
  • Zeughauskino Programm
    Zeughauskino ZEUGHAUSKINO PROGRAMM Deutsches Historisches Museum Unter den Linden 2 10117 Berlin Juli – September 2017 T +49 30 20304-421 (Büro) T +49 30 20304-770 (Kinokasse) F +49 30 20304-424 → Oper und Kino [email protected] → Zbyněk Brynych www.zeughauskino.de → Heimat, deine Fremde INHALT VORWORT 1 Höhepunkte 2 Im Fokus Filmreihen Já, spravedlnost Aus dem Fernseharchiv 4 Berlin.Dokument 8 FilmDokument 12 Heimat, deine Fremde Das Kino der jungen Bundesrepublik Deutschland von 1949 bis 1963 14 Karlheinz Mund Werkschau zum 80. Geburtstag 32 Zbyněk Brynych, Maria Lang, Karlheinz Mund und die „Kölner Gruppe“ – mögen die Œuvres der Filmschaffenden, die wir im dritten Quartal Lachende Erben: Kölner Gruppe 38 vorstellen, ganz unterschiedlichen Zuschnitts sein, eines haben sie Ouvertüre gemein: Sie werden von der traditionellen Filmpublizistik und -ge- Oper und Kino 46 schichtsschreibung ebenso ignoriert wie im Kinobetrieb an den Rand gedrängt. Mit Zbyněk Brynych stellen wir einen tschechischen Regis- Wiederentdeckt 58 seur vor, dessen seit Ende der 1960er Jahre in der Bundesrepublik entstandenen Kolportagefilme und Fernsehkrimis bisher nur in cine- Zbyněk Brynych 62 philen Kreisen geschätzt werden und dessen tschechoslowakische Zwei Filme von mir über mich Produk tionen vor allem der 1970er Jahre nahezu unbekannt sind. Werkschau der Filmemacherin Maria Lang 80 Im Gegensatz zu Brynych, dessen Gesamtwerk kaum zu überblicken ist, hat Maria Lang ein schmales Œuvre hinterlassen. Im Zentrum unserer Werkschau stehen zwei Filme sowie die Arbeiten anderer Aktuelle Ausstellungen Regisseurinnen und Regisseure, die Maria Lang Inspirationsquellen und Orientierungspunkte waren. Mit Karlheinz Mund ehren wir einen Sonderausstellungen im Deutschen Historischen Museum 89 Dokumentaristen, der seit den 1960er Jahren vor allem für die DEFA gearbeitet hat und dessen Werk noch nicht in einem größeren Um- Kalender fang vorgestellt worden ist – vermutlich aufgrund Munds unauf- dring licher Arbeitsweise und der thematischen Vielfalt seiner Filme.
    [Show full text]
  • 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
    [Show full text]