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GÜRCÜ SİNEMASI Ve TENGİZ ABULADZE
T.C. DOKUZ EYLÜL ÜNİVERSİTESİ GÜZEL SANATLAR ENSTİTÜSÜ SİNEMA – TV ANASANAT DALI YÜKSEK LİSANS TEZİ GÜRCÜ SİNEMASI ve TENGİZ ABULADZE Hazırlayan Duygu YILMAZ Danışman Yrd. Doç. Dr. Zühal ÇETİN ÖZKAN İZMİR–2008 Yüksek lisans tezi olarak sunduğum “Gürcü Sineması ve Tengiz Abuladze” adlı çalışmanın, tarafımdan, bilimsel ahlak ve geleneklere aykırı düşecek bir yardıma başvurmaksızın yazıldığını ve yararlandığım eserlerin bibliyografyada gösterilenlerden oluştuğunu, bunlara atıf yapılarak yararlanılmış olduğunu belirtir ve bunu onurumla doğrularım. Tarih ..../..../2008 DUYGU YILMAZ ii TUTANAK Dokuz Eylül Üniversitesi Güzel Sanatlar Enstitüsü’ nün ......./......../...... tarih ve ......sayılı toplantısında oluşturulan jüri, Lisansüstü Öğretim Yönetmeliği’nin ........maddesine göre ........................Anabilim Dalı ………..öğrencisi ..........................’ nin ...................konulu tezi/projesi incelenmiş ve aday ......./....../........ tarihinde, saat .......’ da jüri önünde tez savunmasına alınmıştır. Adayın kişisel çalışmaya dayanan tezini/projesini savunmasından sonra ......... dakikalık süre içinde gerek tez konusu, gerekse tezin dayanağı olan anabilim dallarından jüri üyelerine sorulan sorulara verdiği cevaplar değerlendirilerek tezin/projenin .............................olduğuna oy...................ile karar verildi. BAŞKAN ÜYE ÜYE (ÜYE) (ÜYE) iii YÜKSEKÖĞRETİM KURULU DOKÜMANTASYON MERKEZİ TEZ/PROJE VERİ FORMU Tez/Proje No: Konu Kodu: Üniv. Kodu: Tez/Proje Yazarının Soyadı: YILMAZ Adı: DUYGU Tezin/Projenin Türkçe Adı: GÜRCÜ -
Uw Cinematheque Announces Fall 2012 Screening Calendar
CINEMATHEQUE PRESS RELEASE -- FOR IMMEDIATE RELEASE AUGUST 16, 2012 UW CINEMATHEQUE ANNOUNCES FALL 2012 SCREENING CALENDAR PACKED LINEUP INCLUDES ANTI-WESTERNS, ITALIAN CLASSICS, PRESTON STURGES SCREENPLAYS, FILMS DIRECTED BY ALEXSEI GUERMAN, KENJI MISUMI, & CHARLES CHAPLIN AND MORE Hot on the heels of our enormously popular summer offerings, the UW Cinematheque is back with the most jam-packed season of screenings ever offered for the fall. Director and cinephile Peter Bogdanovich (who almost made an early version of Lonesome Dove during the era of the revisionist Western) writes that “There are no ‘old’ movies—only movies you have already seen and ones you haven't.” With all that in mind, our Fall 2012 selections presented at 4070 Vilas Hall, the Chazen Museum of Art, and the Marquee Theater at Union South offer a moveable feast of outstanding international movies from the silent era to the present, some you may have seen and some you probably haven’t. Retrospective series include five classic “Anti-Westerns” from the late 1960s and early 70s; the complete features of Russian master Aleksei Guerman; action epics and contemplative dramas from Japanese filmmaker Kenji Misumi; a breathtaking survey of Italian Masterworks from the neorealist era to the early 1970s; Depression Era comedies and dramas with scripts by the renowned Preston Sturges; and three silent comedy classics directed by and starring Charles Chaplin. Other Special Presentations include a screening of Yasujiro Ozu’s Dragnet Girl with live piano accompaniment and an in-person visit from veteran film and television director Tim Hunter, who will present one of his favorite films, Tsui Hark’s Shanghai Blues and a screening of his own acclaimed youth film, River’s Edge. -
Time Unfrozen
Change of Focus—1 tony wood TIME UNFROZEN The Films of Aleksei German his is my declaration of love for the people I grew up ‘ with as a child’, says a voice at the beginning of Aleksei TGerman’s Moi drug Ivan Lapshin (My Friend Ivan Lapshin). There is a pause as the narrator struggles for the right words to express his feelings for the Soviet Union of the thirties; when they come—ob”iasnenie v liubvi—it is with a strained emphasis on ‘love’. The fi lm, released in 1984, is set in 1935 in the fi ctional provincial town of Unchansk, where a young boy and his father share a communal fl at with criminal police investigator Ivan Lapshin and half a dozen others. It weaves together elements from the director’s father Iurii German’s detective stories and novellas of the same period: a troupe of actors arrive to play at the town’s theatre; Lapshin tracks down a gang of crimi- nals trading in human meat; a friend of Lapshin’s, Khanin, becomes unhinged after his wife dies of typhus; the spirited actress Adashova falls in love with Khanin, and Lapshin with Adashova. The authorities are largely absent: it is a fi lm about people ‘building socialism’ on a bleak frozen plain, their town’s one street a long straggle of low wooden build- ings beneath a huge white sky, leading from the elegant stucco square by the river’s quayside out into wilderness. There is a single tram, a military band, a plywood ‘victory arch’ of which they are all proud—‘My father’, the narrator recounts, ‘would never take a short cut across the town’: he always went the long way round, under the victory arch. -
Arrow Academy Arrow Academy Arrow Academy Arrow Academy
ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY 1 CONTENTS 4 Film Credits 7 Khrustalyov, My Car! Admission to the Circus (2019) By Gianna D’Emilio 37 Khrustalyov, the Keys to My Car! (2003) by Joël Chapron ARROW ACADEMY ARROW ACADEMY 50 Contemporary Reviews 54 About the Restoration ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY2 ARROW ACADEMY 3 ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY CAST Yuri Tsurilo General Klensky (as Y. Tsurilo) Nina Ruslanova The General’s Wife (as N. Ruslanova) Mikhail Dementyev The General’s Son (as M. Dementiev) Jüri Järvet Jr. The Swedish Journalist (as Y. Yarvet) Aleksandr Bashirov Fedia Aramyshev AKA Condom (as A. Bachirov) Mulid Makoev Lavrentiy Beria (as M. Makoïev) Ali Misirov Joseph Stalin (uncredited) CREW ARROW ACADEMY ARROWDirected by Aleksei GermanACADEMY (as A. Guerman) Written by Aleksei German (as A. Guerman) and Svetlana Karmalita (as S. Karmalita) Produced by Guy Séligmann, Aleksandr Golutva (as Alexandre Golutva) and Armen Medvedev Cinematography by Vladimir Ilin (as V. Ilyne) Film Editor Irina Gorokhovskaya (as I. Gorokhovskaïa) Sound Nikolay Astakhov (as N. Astakhov) ARROW ACADEMYMusic by Andrei ARROW Petrov (as A. Petrov )ACADEMY Production Design by Vladimir Svetozarov (as V. Svetozarov), Georgiy Kropachyov (as G. Kropatchiov) and Mikhail Gerasimov (as M. Geurassimov) ARROW ACADEMY4 ARROW ACADEMY 5 ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY Khrustalyov, My Car! Admission to the Circus by Gianna D’Emilio When the films of Aleksei Yuryevich German (1938–2013) have screened in the west, reviews have fallen into two camps. -
1. Coversheet Thesis
Eleanor Rees The Kino-Khudozhnik and the Material Environment in Early Russian and Soviet Fiction Cinema, c. 1907-1930. January 2020 Submitted for the degree of Doctor of Philosophy School of Slavonic and East European Studies University College London Supervisors: Dr. Rachel Morley and Dr. Philip Cavendish !1 I, Eleanor Rees confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Word Count: 94,990 (including footnotes and references, but excluding contents, abstract, impact statement, acknowledgements, filmography and bibliography). ELEANOR REES 2 Contents Abstract 5 Impact Statement 6 Acknowledgments 8 Note on Transliteration and Translation 10 List of Illustrations 11 Introduction 17 I. Aims II. Literature Review III. Approach and Scope IV. Thesis Structure Chapter One: Early Russian and Soviet Kino-khudozhniki: 35 Professional Backgrounds and Working Practices I. The Artistic Training and Pre-cinema Affiliations of Kino-khudozhniki II. Kino-khudozhniki and the Russian and Soviet Studio System III. Collaborative Relationships IV. Roles and Responsibilities Chapter Two: The Rural Environment 74 I. Authenticity, the Russian Landscape and the Search for a Native Cinema II. Ethnographic and Psychological Realism III. Transforming the Rural Environment: The Enchantment of Infrastructure and Technology in Early-Soviet Fiction Films IV. Conclusion Chapter Three: The Domestic Interior 114 I. The House as Entrapment: The Domestic Interiors of Boris Mikhin and Evgenii Bauer II. The House as Ornament: Excess and Visual Expressivity III. The House as Shelter: Representations of Material and Psychological Comfort in 1920s Soviet Cinema IV. -
The Russian Idea in the Soviet and Post-Soviet Fantastika Film Adaptation
UNIVERSITY OF CALIFORNIA Los Angeles Searching for Identity: The Russian Idea in the Soviet and Post-Soviet Fantastika Film Adaptation A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Slavic, East European and Eurasian Languages and Cultures by Jesse Brown O’Dell 2019 © Copyright by Jesse Brown O’Dell 2019 ABSTRACT OF THE DISSERTATION Searching for Identity: The Russian Idea in the Soviet and Post-Soviet Fantastika Film Adaptation by Jesse Brown O’Dell Doctor of Philosophy in Slavic, East European and Eurasian Languages and Cultures University of California, Los Angeles, 2019 Professor Ronald W. Vroon, Chair What is the role of sociocultural history in the evolution of national identity? How is the worldview of Russian citizens reflected in contemporary art and popular culture? My dissertation, which examines narratives of national identity in the twentieth and twenty-first centuries, approaches these questions and others through an historical analysis of Russian fantastika film adaptations and the literary works upon which they are based. Illustrating transitions in perceptions of Russian identity as they are reflected in over thirty examples of Soviet and post-Soviet fantastika, this project provides a critical reconsideration of historical theories on the “Russian idea” and offers new perspectives on what it means to be Russian in the twenty-first century. My study employs a synthesis of approaches from the fields of cultural history, literature, film, and gender studies. The primary hypothesis is that it is possible, through an historical ii analysis of fantastika film adaptations (and their corresponding literary sources), to obtain a fundamental understanding of post-Soviet culture by examining crucial transformations in the Russian worldview over the course of a century; namely, from 1917 to 2017. -
The Film Industry in the Russian Federation
THE FILM INDUSTRY IN THE RUSSIAN FEDERATION November 2012 Set up in December 1992, the European Audiovisual Observatory’s mission is to gather and diffuse information on the audiovisual industry in Europe. The Observatory is a Euro pean public service body comprised of 39 member states and the European Union, represented by the European Commission. It operates within the legal framework of the Council of Europe and works alongside a number of partner and professional organisations from within the industry and with a network of correspondents. In addition to contributions to conferences, other major activities are the publication of a Yearbook, newsletters and reports, and the provision of information through the Observatory’s Internet site (http://www.obs.coe.int). The Observatory also makes available four free‑access databases, including LUMIERE on admissions to films released in Europe (http://lumiere.obs.coe.int) and KORDA on public support for film and audiovisual works in Europe (http://korda.obs.coe.int). Nevafilm was founded in 1992 and has a wide range of experience in the film industry. The group has modern sound and dubbing studios in Moscow and St. NEVAFILM Petersburg (Nevafilm Studios); is aleader on the Russian market in cinema design, film and digital cinema equipment supply and installation (Nevafilm Cinemas); became Russia’s first digital cinema laboratory for digital mastering and comprehensive DCP creation (Nevafilm Digital); distributes alternative A REPORT FOR THE content for digital screens (Nevafilm Emotion); has undertaken independent monitoring of the Russian cinema market in the cinema exhibition domain since EUROPEAN AUDIOVISUAL OBSERVATORY 2003, and is a regular partner of international research organizations providing data on the development of the Russian cinema market (Nevafilm Research). -
The Construction of Womanhood in Soviet Tv- Movies of the Stagnation Period (1967-1982)
“WOMAN ALWAYS TENDS TO BECOME THE ONE WHO OTHERS WANT TO SEE…”: THE CONSTRUCTION OF WOMANHOOD IN SOVIET TV- MOVIES OF THE STAGNATION PERIOD (1967-1982) Iana Kalinichenko 880727-0908 Program: The Master of Science in Social Studies of Gender Advisor: Post-Doc. Yiannis Mylonas Lund 2012 Iana Kalinichenko 880727-0908 Lund University - MSc Social Studies of Gender, SIMV16 Advisor: Post-Doc. Yiannis Mylonas Acknowledgments My first and sincerest gratitude goes to my thesis supervisor Yiannis Mylonas, who provided me with his mindful guiding on this challenging road of writing a paper. I would like also to express gratitude to Professor Annette Hill, the head of Media and Communication department, for her inspiring advices. I am as well thankful to Sara Goodman, programme coordinator for the Social Studies of Gender Master Program, who helped me on every stage of my development as a master student. I would never have been able to write this paper, if I hadn’t had wonderful and supporting parents. I say “Thank you” to my mother, Inna Kalinichenko, who was always near, even though she was geographically so far away. I say “Thank you” to my father Serghey Kalinichenko, who not only always provided me with his father’s support, but who also helped me to develop my critical thinking and analytical mind. The warmest “Thank you” goes, of course, to my dearest and closest friend – Alexander Korpusov. He always encouraged me to be the better version of myself. Without his valuable insights and accurate comments, I would never been able to finish this thesis. -
Soviet Jews in World War II Fighting, Witnessing, Remembering Borderlines: Russian and East-European Studies
SOVIET JEWS IN WORLD WAR II Fighting, Witnessing, RemembeRing Borderlines: Russian and East-European Studies Series Editor – Maxim Shrayer (Boston College) SOVIET JEWS IN WORLD WAR II Fighting, Witnessing, RemembeRing Edited by haRRiet muRav and gennady estRaikh Boston 2014 Library of Congress Cataloging-in-Publication Data: A catalog record for this book is available from the Library of Congress. Copyright © 2014 Academic Studies Press All rights reserved ISBN 978-1-61811-313-9 (hardback) ISBN 978-1-61811-314-6 (electronic) ISBN 978-1-61811-391-7 (paperback) Cover design by Ivan Grave Published by Academic Studies Press in 2014 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www. academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open. Published by Academic Studies Press 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Table of Contents Acknowledgments ....................................................... -
Dear Friends! on Behalf of Ministry of Culture of the Russian Federation I
ƒÓÓ„Ë ‰ÛÁ¸ˇ! Dear friends! ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ –ÓÒÒËÈÒÍÓÈ On behalf of Ministry of Culture of the Russian ‘‰‡ˆËË ÔÓÁ‰‡‚Ρ˛ ‚‡Ò Ò Ì‡˜‡ÎÓÏ ‡·ÓÚ˚ Federation I would like to congratulate you all on 19-„Ó ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ the opening of the 19-th Open Russian Film "üËÌÓÚ‡‚". Festival "Kinotavr". ‘ÂÒÚË‚‡Î¸ ‚ —Ó˜Ë ‚Ò„‰‡ ·˚Î Ò‡Ï˚Ï ˇÍËÏ, The Festival in Sochi has always been the most Ò‡Ï˚Ï ÓÊˉ‡ÂÏ˚Ï, Ò‡Ï˚Ï Î˛·ËÏ˚Ï vivid, most anticipated, most admired and most Ô‡Á‰ÌËÍÓÏ Ë ÒÓ·˚ÚËÂÏ Ì‡ˆËÓ̇θÌÓ„Ó ÍËÌÓ. celebrated event for national cinema. But it is Œ‰Ì‡ÍÓ ËÏÂÌÌÓ ÚÂÔ¸, ̇ ‚ÓÎÌ ‡Òˆ‚ÂÚ‡ only now when domestic film industry is ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓËÒÍÛÒÒÚ‚‡, "üËÌÓÚ‡‚" blooming, "Kinotavr" has become the main ÒÚ‡ÌÓ‚ËÚÒˇ „·‚ÌÓÈ ÔÓÙÂÒÒËÓ̇θÌÓÈ professional platform for the first-night showings, Ô·ÚÙÓÏÓÈ ‰Îˇ ÔÂϸÂÌ˚ı ÔÓÒÏÓÚÓ‚, meetings and discussions for all creative ‚ÒÚ˜ Ë ‰ËÒÍÛÒÒËÈ ‚ÒÂı Ú‚Ó˜ÂÒÍËı ÔÓÍÓÎÂÌËÈ generations of Russian cinematographers. ÓÒÒËÈÒÍËı ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚. Participation in festival's programme is already an ”˜‡ÒÚË ‚ ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏ "üËÌÓÚ‡‚‡" achievement, already success for every creative Ò‡ÏÓ ÔÓ Ò· ˇ‚ΡÂÚÒˇ ÛÒÔÂıÓÏ ‰Îˇ ÒÓÁ‰‡ÚÂÎÂÈ person in our film industry. To win at "Kinotavr" ͇ʉÓÈ ËÁ ‚˚·‡ÌÌ˚ı ÎÂÌÚ. œÓ·Â‰‡ ̇ beyond doubt means to receive the best ever proof "üËÌÓÚ‡‚Â" ÒÚ‡ÌÓ‚ËÚÒˇ ·ÂÒÒÔÓÌ˚Ï of innovation and craftsmanship and excellence. -
How Things Were Done in Odessa
NATIONAL COUNCIL FOR SOVIET AND EAST EUROPEAN RESEARCH TITLE: HOW THINGS WERE DONE IN ODESSA: CULTURAL AND INTELLECTUAL PURSUITS IN A SOVIET CITY OF THE 1970s AUTHOR: Maurice Friedberg University of Illinois at Urbana-Champaign This report is based upon research supported in part by the National Council for Soviet and East European Research with funds provided by the U. S. Departments of State and Defense and the Central Intelligence Agency, through the Council's Contract #701 with the University of Illinois for the Soviet Interview Project. Subsequent to the expiration of federal support and the Council's Contract #701, the author has volunteered this report to the Council for distribution within the U.S. Government, By agreement with the Department of State, the costs of duplication and distribution are covered by the Council under its Grant #1006-555009 from the Department under Title VIII. The analysis and interpretations in this report are those of the author, and not of the Council or any part of the U. S. Government. DATE: May, 1989 Contents Preface I . Introduction 1 I. Ethnicity 6 II. Religion 22 III. Newspapers, Radio, Television 30 IV. Doctors and Lawyers 40 V. Educational Institutions 49 (A Music School, 53; A Theater School, 55; A School for Cooks, 56; A Boarding School, 58; Foreign Language Courses, 65; Public Schools, 67; Higher Education, 68.) VI. Entertainment 84 (A Municipal Park, 86; Organizing a Parade, 92; Sports, Chess, 96; Organized Excursions, 99; Amateur Ensembles, 100.) VII. The Arts 119 (Theater, 119; Cinema, 128; Music, 134; Painting and Sculpture, 150.) VIII. -
The Death of Russian Cinema, Or Sochi: Russia's Last Resort
THE DEATH OF RUSSIAN CINEMA, OR SOCHI: RUSSIA’S LAST RESORT Nancy Condee 1. “Malokartine” is a made-up word, the Russian equivalent of “cine-anemia,” a devastating blood disorder in the body of the Russian cinema industry. The figures speak for themselves: in 1991, when the Soviet Union collapsed, the Russian Republic produced 213 full-length feature films. Since then, the industry has suffered an annual decrease of 25-30%. In 1992, Russia produced 172 films; in 1993, 152 films; by 1994, 68 films; in 1995, 46 films; in 1996, only 20 films, putting Russia behind Sweden and Poland in the “second tier” of European film production. At this rate, the “blood count” by the end of 1997 should be around thirteen feature films. This dramatic decline is, in part, the inevitable end to the cultural boom of 1986- 1990, when perestroika’s filmmakers produced up to 300 feature films a year: moralizing exposés, erotic melodramas, and incomprehensible auteur films. Once the boom ended, however, the industry could not recover to the stable norm of 150-180 films of the 1970s and early 1980s. Instead, Mosfilm, Moscow’s leading film studio, which regularly had had 45-50 film projects in production at any given time, now has at best five to seven films in process. At Lenfilm, St. Petersburg's lead studio, the situation is bleaker: only a handful of films are in production and its studio space, like many movie theaters around town, doubles as a car wash. Of course, cynics might see a tender irony in this transformation: in the early post-revolutionary years, Soviet commissars had converted Russia’s Orthodox churches into makeshift movie theaters, screening (in Lenin’s words) “the most important of all the 2 arts.” Now the “new Russians” are transforming Soviet cinema space into their own “places of worship”: furniture stores, auto showcases, and merchandise warehouses.