Tarkovsky Is for Me the Greatest, the One Who Invented a New Language, True to the Nature of Film As It Captures Life As a Reflection, Life As a Dream.”
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16/10/2017 LIBRARY Rds 701-800 1 Call Number RD-701 KHEIFITS
16/10/2017 LIBRARY RDs 701-800 1 Call number RD-701 KHEIFITS, Iosif Edinstvennaia [The Only One] Lenfil´m, Pervoe tvorcheskoe ob´´edinenie, 1975; released 17 March 1976 Screenplay: Pavel Nilin, Iosif Kheifits, from Nilin’s story ‘Dur´’ Photography: Genrikh Marandzhian Production design: Vladimir Svetozarov Music: Nadezhda Simonian Song written by: Vladimir Vysotskii Nikolai Kasatkin Valerii Zolotukhin Taniusha Fesheva Elena Proklova Natasha Liudmila Gladunko Boris Il´ich Vladimir Vysotskii Maniunia Larisa Malevannaia Iura Zhurchenko Viacheslav Nevinnyi Anna Prokof´evna, Nikolai’s mother Liubov´ Sokolova Grigorii Tatarintsev Vladimir Zamanskii Judge Valentina Vladimirova Ivan Gavrilovich Nikolai Dupak Scientist Aleksandr Dem´ianenko Train passenger Svetlana Zhgun Tachkin Mikhail Kokshenov Train passenger Efim Lobanov Wedding guest Petr Lobanov Black marketer Liubov´ Malinovskaia Anna Vil´gel´movna Tat´iana Pel´ttser Member of druzhina Boris Pavlov-Sil´vanskii Tania’s friend Liudmila Staritsyna Serega Gelii Sysoev Lekha Aleksandr Susnin Head Chef of the Uiut restaurant Arkadii Trusov 90 minutes In Russian Source: RTR Planeta, 13 March 2015 System: Pal 16/10/2017 LIBRARY RDs 701-800 2 Call number RD-702 SAKHAROV, Aleksei Chelovek na svoem meste [A Man in His Place] Mosfil´m, Tvorcheskoe ob´´edinenie Iunost´, 1972; released 28 May 1973 Screenplay: Valentin Chernykh Photography: Mikhail Suslov Production design: Boris Blank Music: Iurii Levitin Song lyrics: M. Grigor´ev Semen Bobrov, Chairman of the Bol´shie bobry kolkhoz Vladimir Men´shov -
Troiker 042010 Eng 1
[EDITORIAL] Dear Troikers, In this issue of The Troiker we tried to look into the future, but we quickly decided not to get carried away, however tempting this may be. The future is ever-changing, dependant upon the roads we take today and the decisions we make right now. Behrad Khamesee, inventor of microscopic robots, spends his days doing his work, hardly preoccupied with the thought that ten years from now these robots will perform surgery at the cellular level. His life is here and now, enraptured with his invention and giving it his all. Ukranian inventor Igor Pasternak is busy working on a hybrid airplane and blimp. He may have the occasional reverie that his ‘flying mansion’ will one day become the most popular mode of transport, but he spends most of his time making this wonder a reality. Behind every new discovery stands a person enraptured by their idea taking pleasure in realizing it. This issue of our magazine isn’t just about the future, but the people who create it. The key interviews in this issue cover Troika’s strategy and development prospects. The ‘Profession’ column reveals the myths and reality of the work of compliance officers. The ‘Team’ section is about the magicians in the IT Department. Read, dare, create! Best regards, The Troiker Editorial Photo: Ivan Kurennoy Photo: Ivan №8 Founder Inspired by Custom Publishing Independent Media Sanoma Magazines Editorial adress Prepress The Closed Joint-Stock Gor Nakhapetian Director Custom Publishing Photo Editors 3 Polkovaya ul., bldg.1 ArtLion Company “Investment Inna Miloserdova Galina Ustinova Evgenia Starkova Moscow, Russia, 127018 Printhouse company “Troika Project Managers Project Manager Olga Razgovorova Tel.: +7 495 232 32 00 Graffiti Dialog” Ekaterina Semenova Olga Kumakhova www.gopublishing.ru Tel.: (495) 725-09-09 4 Romanov pereulok Marina Liubanskaya Art Director In the issue were used photos from www.graffiti.ru Moscow Russia 125009 Internal Communications Mariana Modyrka the fotobank of Troika Dialog. -
Press Kit EN
A FILM BY ANDREI UJICĂ be available, I was determined either to make Synopsis the film that way or not at all. In addition, I wanted to have two sequences shot in space Man's place in the universe has never been — using film — which would frame the story as contemplated quite the way it is in this prologue and epilogue. These shots were to be singular film. Russian cosmonaut Sergei coordinated by Vadim Yusov in tribute to his Krikalev's ten months on board the Mir space camera work in Solaris. Yusov was granted the station are captured in footage shot during opportunity of going down in the history of film his visit to the heavens, which is contrasted as the director of photography responsible for with images of the collapse of the Soviet Union the first purely cinematographic images ever from 1991 to 1992. While Krikalev was away to have been shot in space — that is, the first from earth, the empire that sent him to space images shot for purely artistic purposes. We did ceased to exist, his hometown of Leningrad in fact succeed in sending a 35mm camera up to again became St. Petersburg, and the nature of the Mir space station in October 1994 and made global affairs underwent massive change. "Yet, these recordings. the extraterrestrial shots and scenes have the effect of somehow dwarfing and distancing these It took a good deal of effort before I got historic events, however momentous. Galaxies, to look over the whole image archive of the like grains of sand, spread across the sky, and Krikalev mission, but then I was happy to see even the epochal sights of the collapse of the that there was enough material to make a whole Soviet state shrivel in comparison" (Michael film. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
Cinemahungaro.Pdf
Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina Produção Geração Praça Moscou: O Cinema Húngaro Contemporâneo O Ministério da Cultura e o Banco do Brasil apresentam Geração Praça Moscou: O Cinema Húngaro Contemporâneo. A mostra contempla um debate e dezesseis filmes produzidos nos anos 2000, que traçam um panorama da nova produção cinematográfica da Hungria. As películas, em sua maioria inéditas no Brasil, integraram diversos festivais internacionais e exibem um olhar sobre a geração pós-comunista do Leste Europeu. O filme Praça Moscou, que intitula a seleção, é um dos precursores desta expressão da nova realidade cinematográfica da Hungria. Ao realizar este projeto, o Centro Cultural Banco do Brasil reafirma sua proposta de promover programação que estimule reflexão por meio de temas importantes e polêmicos, além de apresentar ao público uma filmografia internacional pouco divulgada no país. Centro Cultural Banco do Brasil ISBN 978-85-85688-55-4 “Talvez seja a ironia que nos liga. Em nossos filmes, não há brincadeira e gargalhada. O humor é fruto do encarar o mundo.” György Pálfi, diretor, referindo-se aos cineastas de sua geração 1989 O ano de 1989 foi decisivo para o sistema socialista no Leste Europeu: em janeiro, Károly Grósz, o primeiro ministro da Hungria, anuncia que em algumas semanas começará o recuo das tropas soviéticas do país. O 41º presidente dos EUA assume oficialmente seu cargo; é George H. W. Bush, que viria a advogar pela necessidade do pluripartidarismo em uma posterior visita oficial à Alemanha Ocidental – a das eleições livres e da queda do Muro de Berlim. -
Full Cinematic Retrospective of Director Andrei Tarkovsky This Summer at MAD
Full Cinematic Retrospective of Director Andrei Tarkovsky this Summer at MAD Andrei Tarkovsky, Sculpting in Time presents the work of the revolutionary director and includes screenings—all on 35 mm—of all seven feature films and a behind-the-scenes documentary Stalker, 1976. Andrei Tarkovsky. New York, NY (June 8, 2015)—The Museum of Arts and Design presents a full cinematic retrospective of Andrei Tarkovsky’s work this summer with its latest cinema series, Andrei Tarkovsky, Sculpting in Time, from July 10 through August 28, 2015. Over the course of just seven feature films, Tarkovsky produced a poetic and enigmatic body of work that expanded the possibilities of cinema as an art form and transformed a wide range of genres including science fiction, war stories, film essays and historical dramas. Celebrating the legacy of this revolutionary director, the retrospective includes screenings of Tarkovsky’s seven feature films on 35 mm, as well as a behind-the-scenes documentary that reveals the process behind his groundbreaking practice and cinematic achievements. “Few directors have had as large of an influence on cinema as Andrei Tarkovsky,” says Jake Yuzna, MAD’s Director of Public Programs. “Working under censorship and with little support from the Soviet Union, Tarkovsky fought fiercely for his conceptualization of cinema as a singular and vital art form. Reconsidering the role of films in an age of increasing technology, Tarkovsky saw cinema as not merely a tool for communicating information, but as ‘a moral barometer in a sea of competing narratives.’” 2 COLUMBUS CIRCLE NEW YORK, NEW YORK 10019 P 212.299.7777 F 212.299.7701 MADMUSEUM.ORG Premiering on July 10 with Tarkovsky’s science fiction classic, Solaris, the retrospective showcases the director’s distinctive and influential aesthetic, characterized by expressive, sweeping takes, the evocative use of landscapes, and his method of “sculpting in time” with a camera. -
Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the International Cinema Addict's Definitive Resource 814ILL 4:T2 PM
Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the international cinema addict's definitive resource 814ILL 4:T2 PM Stilyagi (Crnilntlt) Review Published May 151h,2009 in Europe & Russia and Reviews. 4 Comments Musical comedy is hardly a genre most people would associate with modern Russian cinema. Traditionally known and respected for such somber and inquisitive works as Nikita Mikhalkov's Burnt by the Sun (1994), Andrei Zvyagintsev's The Return (2001), and Aleksei Balabanov's Cargo 200 (2OO7), post-Soviet Russian directors had generally focused on negative aspects of the Russian experience until the early 2000s, when waves of cash flowing from the country's oil and gas-fueled economic boom finally reached the film industry, resulting in the production of commercially-oriented blockbusters such as Night Watch (2OO4) and The 9th Company (2OO5). Continuing this trend and taking it in a new direction is Valeriy Todorovskiy's new frlm Stilyagi (Hipsters). Featuring an all-star cast, dynamic script and slick cinematography, Stilyagi takes the viewer on an epic joy ride through 1955 Moscow, two years after Stalin's death. At the height of the Cold War in the Soviet Union, the titular stilyagi were a bunch of Western-oriented hipsters who loved jazz, exhibited questionable morals and enjoyed dressing with style. Mels (Anton Shagin), a seemingly brainwashed member of the Communist youth group Komsomol, falls in love with Polza (Oksana Akinshina) while raiding an illegal underground nightclub . Polza invites Mels to join her and her friends on the "Broadway" and Mels is dumbfounded when he shows up to the party dressed plainly and looking apologetic. -
Russian Cinema Now, an 11-Film Showcase of Contemporary Films, May 31— Jun 13
BAMcinématek presents the 30th anniversary of Andrei Tarkovsky’s Nostalghia for two weeks in a new 35mm print, alongside Russian Cinema Now, an 11-film showcase of contemporary films, May 31— Jun 13 In association with TransCultural Express: American and Russian Arts Today, a partnership with the Mikhail Prokhorov Fund to promote cultural exchange between American and Russian artists and audiences Three North American premieres, three US premieres, and special guests including legendary Fugees producer John Forté and friends and acclaimed directors Sergei Loznitsa and Andrey Gryazev The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/May 10, 2013—From Friday, May 31 through Thursday, June 13, BAMcinématek presents a two-week run of Russian master Andrei Tarkovsky’s Nostalghia in a new 35mm print for its 30th anniversary, alongside Russian Cinema Now, a series showcasing contemporary films with special guests and Q&As. Both programs are part of TransCultural Express: American and Russian Arts Today, a collaborative venture to promote cultural exchange and the Mikhail Prokhorov Fund’s inaugural artistic alliance with a US performing arts institution. For more information on TransCultural Express, download the program press release. A metaphysical exploration of spiritual isolation and Russian identity, Tarkovsky’s (Solaris, Stalker) penultimate film Nostalghia (1983) follows Russian expat and misanthropic poet Andrei (Oleg Yankovsky, The Mirror) as he travels to Italy to conduct research on an 18th-century composer. In the course of his study, he is overcome by melancholy and a longing for his home country—a sentiment reflective of the exiled Tarkovsky’s own struggle with displacement, this being his first film made outside of the USSR (the film’s Italian title translates as “homesickness”). -
NZIFF19 Christchurch WEB.Pdf
CHRISTCHURCH 8 – 25 AUGUST 2019 TIMARU 15 – 25 AUGUST 2019 NZIFF.CO.NZ NZIFF0619_Christchurch-1.indd 1 3/07/19 1:40 PM NZIFF0619_Christchurch-1.indd 2 3/07/19 1:40 PM 43rd Christchurch International Film Festival Presented by New Zealand Film Festival Trust under the distinguished patronage of Her Excellency The Right Honourable Dame Patsy Reddy, Governor-General of New Zealand ISAAC THEATRE ROYAL LUMIÈRE CINEMAS MOVIE MAX DIGITAL PROUDLY SUPPORTED BY General Manager: Sharon Byrne Programmer: Sandra Reid Programme Manager: Michael McDonnell Assistant to the General Manager: Caroline Palmer Communications Manager: Melissa Booth Publicists (Christchurch): Jo Scott, Tanya Jephson Festival Host (Christchurch): Nick Paris Publicist: Sally Woodfield Animation NOW! Programmer: Malcolm Turner All Ages Programmer: Nic Marshall Incredibly Strange Programmer: Anthony Timpson Publications Manager: Tim Wong Programme Consultant: Chris Matthews Content Manager: Ina Kinski Content Assistant: Lauri Korpela Technical Adviser: Ian Freer Online Content Coordinator: Sanja Maric Audience Development Coordinator: Emma Carter Guest Coordinator: Lauren Day Social Media Coordinator: David Oxenbridge Communications Assistant: Lynnaire MacDonald Communications Assistant (Auckland): Camila Araos Elevancini Online Social Assistant: Bradley Pratt Festival Accounts: Alan Collins Festival Interns: Erin Rogatski (Auckland) Jessica Hof (Wellington) Publication Design: Ocean Design Group Publication Production: Greg Simpson Cover Design: Blair Mainwaring Cover Illustration: -
Alien Encounters and the Alien/Human Dichotomy in Stanley Kubrick's <Em>2001: a Space Odyssey</Em> and Andrei Tark
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 4-1-2010 Alien Encounters and the Alien/Human Dichotomy in Stanley Kubrick‘s 2001: A Space Odyssey and Andrei Tarkovsky‘s Solaris Keith Cavedo University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Cavedo, Keith, "Alien Encounters and the Alien/Human Dichotomy in Stanley Kubrick‘s 2001: A Space Odyssey and Andrei Tarkovsky‘s Solaris" (2010). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/1593 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Alien Encounters and the Alien/Human Dichotomy in Stanley Kubrick‘s 2001: A Space Odyssey and Andrei Tarkovsky‘s Solaris by Keith Cavedo A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Lawrence Broer, Ph.D. Victor Peppard, Ph.D. Silvio Gaggi, Ph.D. Date of Approval: April 1, 2010 Keywords: Film Studies, Science Fiction Studies, Alien Identity, Human Identity © Copyright 2010, Keith Cavedo Dedication I dedicate this scholarly enterprise with all my heart to my parents, Vicki McCook Cavedo and Raymond Bernard Cavedo, Jr. for their unwavering love, support, and kindness through many difficult years. Each in their own way a lodestar, my parents have guided me to my particular destination. -
Memory and Exile: Time and Place in Tarkovsky's Mirror
MEMORY AND EXILE: TIME AND PLACE IN TARKOVSKY’S MIRROR Dr. Peter King Reader in Housing and Social Philosophy Centre for Comparative Housing Research De Montfort University The Gateway Leicester LE1 9BH UK Tel: +44 (0)116 257 7431 Email: [email protected] MEMORY AND EXILE: TIME AND PLACE IN TARKOVSKY’S MIRROR Abstract What if the place that we are in the midst of is different from the physical space that we currently inhabit? What if the things we yearn for are located elsewhere, in another place or in a remembered past, and all we now carry within us is an image of this place. We may remember only elements or impressions of it: there may be certain objects, smells, a smile or expression, particular acts or occasions, a word, all of which come out in a manner that we cannot control or understand. Yet any of these elements or impressions makes us feel ‘at home’ in a way that we cannot find in the physical space where we are now stuck. This is the problem of exile, of being displaced and yet capable of remembering the particularity of place: it is the state of being dislocated yet able to discern what it is that locates us. We have a great yearning, but we cannot fulfil it with anything but memory. We can see this process of the internalisation of the ordinary in the work of the Russian film director, Andrei Tarkovsky, in particular in his work, Mirror, which explores the loss of a childhood place and the attempt to recreate it. -
ABSTRACT the Book of Tarkovski, Sculpting in Time Shows a Free
∗ ∗∗ ABSTRACT The book of Tarkovski, Sculpting in Time shows a free reflection on the cinema, the position of the artist and the metaphysical values in contemporary society. Keywords: ethos , sensitive, time, aesthetics he third edition of the book of Tarkovsky, Sculpting Time to Portuguese replays the comments on their production, not directed to criticism, but as a diary, himself. TAverse to theories that circulated in the second half of the twentieth century on film or an aesthetic which might be applicable, Tarkovsky sought to reflect, especially during the intervals of his films on the nature of cinema as something concerning the poetry in general, that in turn, operates between the cultivation of sensitive aisthesis, and building an ethos susceptible to the affects. ∗ Doctor of Philosophy from the Faculty of Philosophy and Humanities at the University of São Paulo- USP, where he earned a degree in art education, major in fine arts at the School of Communications and Arts. It is a teacher and researcher at the Institute of Brazilian Studies at the University of Sao Paulo, IEB / USP. E-mail: [email protected] ∗∗ PhD in Education, Society and Culture, State University of Campinas, Master of Applied Social Sciences and Education degree in Education from the same university. He is currently Adjunct Professor of the Post-graduate studies in Education at the Catholic University of Minas Gerais. E-mail: [email protected] The third edition of the book of Tarkovsky, Sculpting Time to Portuguese replays the comments on their production, not directed to criticism, but as a diary, himself. Averse to theories that circulated in the second half of the twentieth century on film or an aesthetic which might be applicable, Tarkovsky sought to reflect, especially during the intervals of his films on the nature of cinema as something concerning the poetry in general, that in turn, operates between the cultivation of sensitive aisthesis, and building an ethos susceptible to the affects.