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FILM 308.80: Russian Cinema and Culture Clint B
University of Montana ScholarWorks at University of Montana Syllabi Course Syllabi Fall 9-1-2018 FILM 308.80: Russian Cinema and Culture Clint B. Walker University of Montana, Missoula Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/syllabi Recommended Citation Walker, Clint B., "FILM 308.80: Russian Cinema and Culture" (2018). Syllabi. 8242. https://scholarworks.umt.edu/syllabi/8242 This Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted for inclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Prof. Clint Walker Russian Cinema and Culture LA 330, x2501 FILM 308 [email protected] Mon and Wed, 2-4:20pm, NAC 009 Office Hours: M 10-11am, 12-1pm and by appointment in LA 330 Russian Cinema and Culture LEARNING OUTCOMES and OBJECTIVES: This course provides students with a thematic-centered introduction to Russian and Soviet Cinema. Rather than organizing the material chronologically, I have opted to arrange the films in thematic clusters. Thematic units include: Responses to Stalinism in Russian Cinema; Identity and Otherness in Russian Cinema; Women, Gender, and Sexuality in Russian Cinema; Exploring Genres in Russian Cinema. Within each thematic unit, the films are arranged chronologically to allow us to trace the progression of the theme and its exploration and depiction via the cinematic medium in various cultural epochs. My main learning objective in this class is thus twofold: to acquaint you with several thematic clusters that play a major role in the development of Russian cinema; to provide you with enough cultural background to enable you to appreciate more fully how the exploration of these themes evolved and changed through various historical and cultural periods. -
Friendly Fire Project Examines How a Country Views Itself by How It Tells Its War Story, We Are Also Very Interested in What Other Countries Consume for Entertainment
00:00:00 Music Music Soft, melancholy, somewhat eerie music. 00:00:01 Adam Host If it feels like there are a lot of films about Stalingrad, you’re not Pranica wrong. A quick search in your movie streaming service of choice—or if you’re so lucky, a brick-and-mortar video store—will reveal ten of them. Although only one, to our knowledge, has a scene depicting a Rachel Weisz hand job. It’s enough film content to spin off a podcast of its own, and I’ve already pitched Earwolf a show about German/Russian World War II films with an emphasis on fighter plane aerodynamics/equestrian cavalry enclosures hosted by fifth-year college seniors from acting school with limb fractures called The Stalingrad Stall Stall Stallin’ Grad Cast Cast Cast. For comparison, there are only five more films made about Pearl Harbor, and that’s if you don’t disqualify the Michael Bay movie, which we do. This Stalingrad film is the most successful Russian film of all time, earning 51 million domestically in Russia and $68 million globally. And while the Friendly Fire project examines how a country views itself by how it tells its war story, we are also very interested in what other countries consume for entertainment. Stalingrad accomplishes both. But does that say anything about the importance of this battle in the story of World War II, and the historical record? Well, in our experience watching war films, sometimes quantity doesn’t equal quality. And this is a film that tries very hard to project quality. -
Social Condenser’ in Eldar Ryazanov’S Irony of Fate VOL
ESSAY Soviet Bloc(k) Housing and the Self-Deprecating ‘Social Condenser’ in Eldar Ryazanov’s Irony of Fate VOL. 113 (MARCH 2021) BY LARA OLSZOWSKA A completely atypical story that could happen only and exclusively on New Year's Eve. – Eldar Ryazanov, Irony of Fate, 1976. Zhenya lives in apartment № 12 of unit 25 in the Third Builder Street, and so does Nadia, only that she lives in Leningrad, whereas Zhenya lives in Moscow. After a heavy drinking session at the bathhouse with friends on New Year’s Eve, Zhenya accidentally gets on a flight to Leningrad one of his friends had booked for himself. Still intoxicated on arrival, he gives his address to a taxi driver and arrives “home”. He lets himself into Nadia’s flat with his key – even their locks match – and falls asleep. When Nadia wakes him, the comical love story between the two takes center stage and the coincidence of their matching housing blocks seems to be little more than a funny storytelling device. Upon further examination it is far more significant. The misleading epigraph at the start of Eldar Ryazanov’s Irony of Fate quoted above links the ludicrous events that follow to the date on which they unfold. On New Year’s Day 1976, the film was first broadcast to television audiences across the Soviet Union, telling an extraordinary tale in a very ordinary place. This “atypical story” is not really a result of the magic of New Year’s Eve alone, but more so a product of its setting: a Soviet apartment in a Soviet housing block in a socialist city. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Preservation and Changes of Russian Culture from the Perspective of Film Language — Taking Attraction As an Example
Preservation and Changes of Russian Culture from the Perspective of Film Language — Taking Attraction as an Example Wenhan Yang Heilongjiang University, Harbin 116085, Heilongjiang, China Email: [email protected] Abstract: The changes of Russian literature and film language, to some extent, mirror the historical process of changes of Russian culture. In the history of cultural development in several centuries, Russia has critically absorbed the achievements of Eastern and Western civilizations on the premise of preserving its own cultural background, thus forming a Russian civ- ilization with national characteristics. Taking Attraction as an example, this paper analyzes the preservation and changes of modern and contemporary Russian culture from the perspective of film language, so as to discover the changes of modern and contemporary Russian civilization. Keywords: film language, Russian culture, preservation and change, Attraction Introduction Attraction is a science fiction based love affair film directed by Fyodor Bondarchuk with the love track of the heroine Yulya as the clue, and it depicted various contradictions and tensions in social life as the earth was collapsing. In the film, there are few descriptions of battles and invasions, but love, kinship, friendship and other elements are vigorously rendered with relatively slow pace. The doomsday soft science fiction film Attraction gives a large proportion on the discussion of human nature, conveying the director and screenwriter's unique world view and cosmology, and conveying the anti-war spiritual core. 1. The preservation of Russian culture in the film language of Attraction 1.1 Preservation of love culture Love is the eternal theme of Russian films and world films. -
Cultural Heritage, Cinema, and Identity by Kiun H
Title Page Framing, Walking, and Reimagining Landscapes in a Post-Soviet St. Petersburg: Cultural Heritage, Cinema, and Identity by Kiun Hwang Undergraduate degree, Yonsei University, 2005 Master degree, Yonsei University, 2008 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kiun Hwang It was defended on November 8, 2019 and approved by David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Mrinalini Rajagopalan, Associate Professor, University of Pittsburgh, Department of History of Art & Architecture Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Dissertation Advisor: Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Kiun Hwang 2019 Abstract iii Framing, Walking, and Reimagining Landscapes in a Post-Soviet St. Petersburg: Cultural Heritage, Cinema, and Identity Kiun Hwang, PhD University of Pittsburgh, 2019 St. Petersburg’s image and identity have long been determined by its geographical location and socio-cultural foreignness. But St. Petersburg’s three centuries have matured its material authenticity, recognizable tableaux and unique urban narratives, chiefly the Petersburg Text. The three of these, intertwined in their formation and development, created a distinctive place-identity. The aura arising from this distinctiveness functioned as a marketable code not only for St. Petersburg’s heritage industry, but also for a future-oriented engagement with post-Soviet hypercapitalism. Reflecting on both up-to-date scholarship and the actual cityscapes themselves, my dissertation will focus on the imaginative landscapes in the historic center of St. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991. -
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. -
Mcdowell Title Page
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title House Work: Domesticity, Belonging, and Salvage in the Art of Jess, 1955-1991 Permalink https://escholarship.org/uc/item/5mf693nb Author McDowell, Tara Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California House Work: Domesticity, Belonging, and Salvage in the Art of Jess, 1955-1991 By Tara Cooke McDowell A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Emerita Anne M. Wagner, Chair Professor Emeritus T.J. Clark Professor Emerita Kaja Silverman Spring 2013 Abstract House Work: Domesticity, Belonging, and Salvage in the Art of Jess, 1955-1991 by Tara McDowell Doctor of Philosophy in History of Art University of California, Berkeley Professor Emerita Anne M. Wagner, Chair This dissertation examines the work of the San Francisco-based artist Jess (1923-2004). Jess’s multimedia and cross-disciplinary practice, which takes the form of collage, assemblage, drawing, painting, film, illustration, and poetry, offers a perspective from which to consider a matrix of issues integral to the American postwar period. These include domestic space and labor; alternative family structures; myth, rationalism, and excess; and the salvage and use of images in the atomic age. The dissertation has a second protagonist, Robert Duncan (1919-1988), preeminent American poet and Jess’s partner and primary interlocutor for nearly forty years. Duncan and Jess built a household and a world together that transgressed boundaries between poetry and painting, past and present, and acknowledged the limits and possibilities of living and making daily. -
9781474437257 Refocus The
ReFocus: The Films of Andrei Tarkovsky 66616_Toymentsev.indd616_Toymentsev.indd i 112/01/212/01/21 111:211:21 AAMM ReFocus: The International Directors Series Series Editors: Robert Singer, Stefanie Van de Peer, and Gary D. Rhodes Board of advisors: Lizelle Bisschoff (University of Glasgow) Stephanie Hemelryck Donald (University of Lincoln) Anna Misiak (Falmouth University) Des O’Rawe (Queen’s University Belfast) ReFocus is a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of international film directors, from the celebrated to the ignored, in direct relationship to their respective culture—its myths, values, and historical precepts—and the broader parameters of international film history and theory. The series provides a forum for introducing a broad spectrum of directors, working in and establishing movements, trends, cycles, and genres including those historical, currently popular, or emergent, and in need of critical assessment or reassessment. It ignores no director who created a historical space—either in or outside of the studio system—beginning with the origins of cinema and up to the present. ReFocus brings these film directors to a new audience of scholars and general readers of Film Studies. Titles in the series include: ReFocus: The Films of Susanne Bier Edited by Missy Molloy, Mimi Nielsen, and Meryl Shriver-Rice ReFocus: The Films of Francis Veber Keith Corson ReFocus: The Films of Jia Zhangke Maureen Turim and Ying Xiao ReFocus: The Films of Xavier Dolan -
Money Laundering Cases Involving Russian Individuals and Their Effect on the Eu”
29-01-2019 1 SPECIAL COMMITTEE ON FINANCIAL CRIMES, TAX EVASION AND TAX AVOIDANCE (TAX3) TUESDAY 29 JANUARY 2019 * * * PUBLIC HEARING “MONEY LAUNDERING CASES INVOLVING RUSSIAN INDIVIDUALS AND THEIR EFFECT ON THE EU” * * * Panel I: Effects in the EU of the money laundering cases involving Russian linkages Anders Åslund, Senior Fellow, Atlantic Council; Adjunct Professor, Georgetown University Joshua Kirschenbaum, Senior fellow at German Marshall Fund’s Alliance for Securing Democracy Richard Brooks, Financial investigative journalist for The Guardian and Private Eye magazine Panel II: The Magnitsky case Bill Browder, CEO and co-founder of Hermitage Capital Management Günter Schirmer, Head of the Secretariat of the Committee on Legal Affairs and Human Rights of the Parliamentary Assembly of the Council of Europe 2 29-01-2019 1-002-0000 IN THE CHAIR: PETR JEŽEK Chair of the Special Committee on Financial Crimes, Tax Evasion and Tax Avoidance (The meeting opened at 14.38) Panel I: Effects in the EU of money laundering cases involving Russian linkages 1-004-0000 Chair. – Good afternoon dear colleagues, dear guests, Ladies and Gentlemen. Let us start the public hearing of the Special Committee on Financial Crimes, Tax Evasion and Tax Avoidance (TAX3) on money-laundering cases involving Russian individuals and their effects on the EU. We will deal with the issue in two panels. On the first panel we are going to discuss the effects on the EU of money-laundering cases involving Russian linkages. Let me now introduce the speakers for the first panel. We welcome Mr Anders Åslund, who is a Senior Fellow at the Atlantic Council and Adjunct Professor, Georgetown University. -
Self/Other Representations in Aleksei Balabanov's 'Zeitgeist Movies'
SELF/OTHER REPRESENTATIONS IN ALEKSEI BALABANOV‟S „ZEITGEIST MOVIES‟: FILM GENRE, GENRE FILM AND INTERTEXTUALITY Florian Weinhold School of Languages, Linguistics and Cultures A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 2 Contents ABSTRACT……………….……………………………..….............…............... 6 DECLARATION………………………………………………….......................7 COPYRIGHT STATEMENT.....……………………………………................. 7 THE AUTHOR...………………………………………………….......................8 ACKNOWLEDGEMENTS…………………………..………....…................... .9 Chapter 1: Introduction..............................………………………......……........11 1.1 Background, Rationale, Aim and Structure of the Introduction…………. 11 1.2 Why Balabanov?…………………………………..…….…….................. 13 1.3 Why Balabanov‟s „Genre Films‟?………………………..………............ 16 1.4 Balabanov‟s Genre Films in Russian and Western Criticism..................... 19 1.5 Contributions of the Study......................………………………………… 28 1.6 Aim, Objectives and Research Questions of the Thesis..............…........... 29 1.7 Primary Sources………….......................................................................... 31 1.8 Structure of the Thesis................................................................................ 32 Chapter 2: Methodology.......................................................................................35 2.1 Introduction...........................………………….......................................... 35 2.2 Why Genre?……………………………………...................……............