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Boletin Cultural Febrero 2021
CONSULADO GENERAL DEL PERÚ EN NUEVA YORK BOLETÍN CULTURAL FEBRERO 2021 BOLETÍN CULTURAL DEL CONSULADO GENERAL DEL PERÚ EN NUEVA YORK Este boletín contiene información difundida por la Dirección General de Asuntos Culturales del Ministerio de Relaciones Exteriores del Perú entre sus misiones en el exterior, relativa a iniciativas, eventos y actividades realizados en cooperación y/o en coordinación con otras entidades nacionales e internacionales. FEBRERO 2021 BOLETÍN CULTURAL DEL CONSULADO GENERAL DEL PERÚ EN NUEVA YORK GRAN TEATRO NACIONAL PRESENTACION “RETABLO DE CANDELARIA” En conmemoración de la Festividad de la Virgen de la Candelaria – celebrada en febrero de cada año y declarada Patrimonio Cultural de la Nación en 2003 e inscrita en la Lista Representativa del Patrimonio Cultural Inmaterial de la Humanidad de UNESCO en 2014 –, se tiene el agrado de compartir la presentación de “Retablo de Candelaria”, dirigida por Fabricio Varela, a cargo del Ballet Folclórico Nacional y puesta en escena del Gran Teatro Nacional. ➔ Puede ver la referida presentación a través del siguiente enlace: https://envivo.granteatronacional.pe/video/retablo-candelaria Dicha Festividad consta de un grupo de actos de carácter religioso, festivo y cultural que tienen sus raíces en tradiciones católicas y elementos simbólicos de la cosmovisión andina, y que se organiza en torno a la procesión de la Virgen de la Candelaria por las calles de la ciudad de Puno, con una fiesta que prosigue mediante la realización de dos certámenes en los que compiten alrededor de 200 grupos de baile, provenientes de distintas partes de la región. Las festividades son organizadas por federaciones regionales, que también contribuyen a la preservación de las técnicas y conocimientos tradicionales relacionados con la danza, la música y la fabricación de las máscaras y el vestuario. -
Jane Fonda, IPC Films and Hollywood, 1977-1982 Rafferty, James Michael
Politicising stardom: Jane Fonda, IPC Films and Hollywood, 1977-1982 Rafferty, James Michael The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. https://qmro.qmul.ac.uk/jspui/handle/123456789/675 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] 1 Politicising Stardom: Jane Fonda, IPC Films and Hollywood, 1977-1982 James Michael Rafferty Queen Mary, University of London Thesis submitted for the qualification of Doctorate of Philosophy (PhD) 2 Abstract This thesis is an empirical analysis of Jane Fonda’s films, stardom, and political activism during the most commercially successful period of her career. At the outset, Fonda’s early stardom is situated in relation to contemporaneous moral and political ideologies in the United States and how she functioned as both an agent and symbol of these ideologies. Her anti-war activism in the early-1970s constituted the apex of Fonda’s radicalisation and the nadir of her popular appeal; a central question of this thesis, therefore, is how her stardom was rehabilitated for the American mainstream to the point of becoming Hollywood’s most bankable actress. As the star and producer of IPC Films, Fonda developed political projects using commercial formats, namely Coming Home (1978), The China Syndrome (1979), Nine to Five (1980), and Rollover (1981). -
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
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. -
Stephen Norris
Stephen M. Norris Department of History Miami University 6308 Firestone Drive 200 Upham, 100 Bishop Circle Fairfield, OH 45014 Oxford, OH 45056 513-529-2615 513-529-3224 (fax) [email protected] CURRICULUM VITAE ACADEMIC APPOINTMENTS 2013- Miami University (OH). Professor of History, Faculty Associate of the Havighurst Center for Russian and Post-Soviet Studies. 2013-2016 Assistant Director, Havighurst Center for Russian and Post-Soviet Studies. 2008-2013 Miami University (OH). Associate Professor of History, Faculty Associate of the Havighurst Center for Russian and Post-Soviet Studies. 2002-2008 Miami University (OH). Assistant Professor of History, Faculty Associate of the Havighurst Center for Russian and Post-Soviet Studies 2006-2010 Miami University (OH). Director of Film Studies 1 EDUCATION Ph.D (2002) Russian History, University of Virginia; Minor Field: Latin America Since Independence Dissertation: “Russian Images of War: The Lubok and Wartime Culture, 1812- 1917” M.A (1996) Modern European History, University of Virginia (1996); Exam Fields: Imperial Russia, Modern Germany B.A (1994) History, Minor in Literature, Millikin University [Decatur, IL] (1994); Magna cum Laude, Honors in History. Russian Language Certificate, Kazan State University, Republic of Tatarstan, Russian Federation (1997) Intensive Russian, Summer Language Program, University of Virginia (1994) PUBLICATIONS BOOKS: Blockbuster History in the New Russia: Movies, Memory, and Patriotism. [cloth and paperback editions] (Bloomington: Indiana University Press, 2012). http://www.iupress.indiana.edu/product_info.php?cPath=1037_1183&products_id=806589. Reviews in The Times Literary Supplement (UK) A War of Images: Russian Popular Prints, Wartime Culture, and National Identity, 1812-1945 (DeKalb, IL: Northern Illinois University Press, 2006). -
A Quantitative Analysis of Red Button Television Content in the UK
Pushing the button: A quantitative analysis of red button television content in the UK Submitted in partial fulfilment of the Requirements of the Degree of Doctor of Philosophy. July 2014 Andrew Fox 1 Table of Contents Abstract p. 8 Chapter 1: Introduction 1.1 Introduction p. 10 1.2 Technohype p. 11 1.3 Internet Television p. 13 1.4 Television and Interactivity p. 14 1.5 Research Aims p. 17 1.6 Field Interviews p. 18 1.7 Thesis Structure p. 18 Chapter 2: Theoretical framework and literature review 2.1 Introduction p. 20 2.2 Has the sociological position of television changed? p. 20 2.2.1 ‘The Death of Television’ p. 21 2.2.2 Convergence p. 23 2.2.3 Uncertain future p. 26 2.3 Is interactive television happening and if so why? p. 29 2.3.1 Institutional attitudes p. 29 2.3.2 Regulatory policy p. 33 2.4 What does interactivity mean for television? p. 38 2.4.1 Participatory experience p. 39 2.4.2 Individualistic experience p. 43 2.5 What does interactivity mean for television content? p. 46 2.5.1 Enhanced content p. 46 2.5.2 Freedom of choice p. 48 2 2.6 What does interactive television mean for the audience? p. 50 2.6.1 A more questioning audience p. 51 2.6.2 An everyday experience? p. 52 2.6.3 Choice means responsibility p. 55 2.7 What does interactive television actually offer? p. 57 2.7.1 Defining ‘interactivity’ p. 58 2.7.2 Forms of interactive TV p. -
Sesiune Speciala Intermediara De Repartitie - August 2018 DACIN SARA Aferenta Difuzarilor Din Perioada 01.04.2008 - 31.03.2009
Sesiune speciala intermediara de repartitie - August 2018 DACIN SARA aferenta difuzarilor din perioada 01.04.2008 - 31.03.2009 TITLU TITLU ORIGINAL AN TARA R1 R2 R3 R4 R5 R6 R7 R8 R9 S1 S2 S3 S4 S5 S6 S7 S8 S9 S10 S11 S12 S13 S14 S15 A1 A2 3:00 a.m. 3 A.M. 2001 US Lee Davis Lee Davis 04:30 04:30 2005 SG Royston Tan Royston Tan Liam Yeo 11:14 11:14 2003 US/CA Greg Marcks Greg Marcks 1941 1941 1979 US Steven Bob Gale Robert Zemeckis (Trecut, prezent, viitor) (Past Present Future) Imperfect Imperfect 2004 GB Roger Thorp Guy de Beaujeu 007: Viitorul e in mainile lui - Roger Bruce Feirstein - 007 si Imperiul zilei de maine Tomorrow Never Dies 1997 GB/US Spottiswoode ALCS 10 produse sau mai putin 10 Items or Less 2006 US Brad Silberling Brad Silberling 10.5 pe scara Richter I - Cutremurul I 10.5 I 2004 US John Lafia Christopher Canaan John Lafia Ronnie Christensen 10.5 pe scara Richter II - Cutremurul II 10.5 II 2004 US John Lafia Christopher Canaan John Lafia Ronnie Christensen 100 milioane i.Hr / Jurassic in L.A. 100 Million BC 2008 US Griff Furst Paul Bales 101 Dalmatians - One Hamilton Luske - Hundred and One Hamilton S. Wolfgang Bill Peet - William 101 dalmatieni Dalmatians 1961 US Clyde Geronimi Luske Reitherman Peed EG/FR/ GB/IR/J Alejandro Claude Marie-Jose 11 povesti pentru 11 P/MX/ Gonzalez Amos Gitai - Lelouch - Danis Tanovic - Alejandro Gonzalez Amos Gitai - Claude Lelouch Danis Tanovic - Sanselme - Paul Laverty - Samira septembrie 11'09''01 - September 11 2002 US Inarritu Mira Nair SACD SACD SACD/ALCS Ken Loach Sean Penn - ALCS -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Emmy Award Winners
CATEGORY 2035 2034 2033 2032 Outstanding Drama Title Title Title Title Lead Actor Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actress—Comedy Name, Title Name, Title Name, Title Name, Title Outstanding Limited Series Title Title Title Title Outstanding TV Movie Name, Title Name, Title Name, Title Name, Title Lead Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Lead Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title CATEGORY 2031 2030 2029 2028 Outstanding Drama Title Title Title Title Lead Actor—Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp. -
Larissa Shepitko, VOSKHODZDENIE/THE ASCENT (1976, 109 Min)
March 31, 2009 (XVIII:11) Larissa Shepitko, VOSKHODZDENIE/THE ASCENT (1976, 109 min) Directed by Larissa Shepitko Script by Yuri Klepikov and Larissa Shepitko based on the novel by Vasili Bykov Music by Alfred Shnitke Cinematography by Vladimir Chukhnov and Pavel Lebeshev Boris Plotnikov....Sotnikov Vladimir Gostyukhin....Rybak Sergei Yakovlev….village elder Lyudmila Polyakova….Demchika Viktoriya Goldentul….Basya Anatoli Solonitsyn…Portnoy, the Nazi interrogator Mariya Vinogradova….village elder’s wife Nikolai Sektimenko….Stas Golden Bear, Berlin Film Festival LARISSA SHEPITKO (6 January 1938, Artyomovsk, Ukraine, Soviet Union-2 June 1979, Kalinin province, Soviet Union, auto accident ) directed 8 films and wrote 4 screenplays. The films she which are Ya pomnyu/I Remember (2006), Quiet Flows the Don directed are: Voskhozhdeniye/The Ascent (1976), Ty i ya/You and (2006), Pervyy posle Boga (2005), The Night Is Bright (2004), Me (1971), V trinadtsatom chasu nochi/13 PM (1969, TV), Vesegonskaya volchitsa (2004), Voyna/War (2002), American Boy Nachalo nevedomogo veka/Beginning of an Unknown Era (1967, (1992), General (1992), Urga/Close to Eden (1991), segment "Rodina elektrichestva"), Krylya/Wings (1966), Avtostop/Hitch-hiking (1990), Bez solntsa/Without Sun (1987), Znoy/Heat (1963), Zhivaya voda/Living Water (1957), and Slepoy Moonzund (1987), Levsha/The Left-Hander (1986), Skakal kazak kukhar/The Blind Cook (1956). cherez dolinu (1986), Zina-Zinulya (1986), Magistral (1983), Belyy voron/The White Crow (1981), Rodnik/The Spring (1981), BORIS PLOTNIKOV (2 April 1949, Nevyansk, Sverdlovsk Predvaritelnoye rassledovaniye/Preliminary Investigation (1978), province, Soviet Union) has 28 acting credits, some of which are Voskhozhdeniye/The Ascent (1977), and Moya sudba (1970). -
Feb Movies at 6 Pm
FEB MOVIES AT 6 PM Thurs Feb 4 – The Spell A teenaged girl, taunted by her schoolmates because she's overweight, uses her supernatural powers to take revenge. Lee Grant, Susan Myers, Lelia Goldoni, 86min,1977, NR Fri Feb 5 – A Beautiful Day In The Neighborhood Based on the true story of a real- life friendship between Fred Rogers and journalist Lloyd Vogel. Tom Hanks, Matthew Rhys, Chris Cooper, 109min,2019, PG Sat Feb 6 – Cats "Jellicle" cats join for a Jellicle ball where they rejoice with their leader, Old Deuteronomy. One cat will be chosen to go to the "Heavyside Layer" and be reborn. The cats introduce themselves. 120min, 1998, NR Sun Feb 7 – Marriage Story Noah Baumbach's incisive and compassionate look at a marriage breaking up and a family staying together. Adam Driver, Scarlett Johansson, Julia Greer, 137min, 2020, R Thurs Feb 11 – Away All Boats The story of a U.S. Naval ship and its crew in the Pacific, from 1943 to 1945. Jeff Chandler, George Nader, Lex Barker, 114min, 1956, NR Fri Feb 12 – The Tall Target A New York City detective, traveling by train between New York and Baltimore, tries to foil an on-board plot to assassinate President-elect Abraham Lincoln before he reaches Baltimore. Dick Powell, Paula Raymond 78min, 1951, NR Sat Feb 13 – Full Metal Jacket A pragmatic U.S. Marine observes the dehumanizing effects the Vietnam War has on his fellow recruits from their brutal boot camp training to the bloody street fighting in Hue. Matthew Modine, R. Lee Ermey, Vincent D'Onofrio, 116min, 1987, R Sun Feb 14 - On The Basis of Sex The true story of Ruth Bader Ginsburg, her struggles for equal rights, and the early cases of a historic career that lead to her nomination and confirmation as U.S. -
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.