DOCSLIB.ORG

Using Subtitled Films

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Using Subtitled Films Social Education 71(6), pp 326–330 ©2007 National Council for the Social Studies Reading in the Social Studies: Using Subtitled Films Kerry Holmes, William B. Russell III, and Allison Movitz Involving reluctant and low-achieving students with reading is an essential world, teachers can find films to supple- step to increasing students’ content area knowledge. One way to increase students’ ment almost any social studies theme. engagement with text is by linking social studies content with foreign films that have Foreign films explicitly expose students English subtitles. Not only can subtitled films help increase students’ engaged time to cultural differences by allowing them with text, but the use of these films provides a multi-sensory, multidimensional to enter the homes and workplaces of exposure to the social studies. Films bring social studies—particularly history and people around the world. Differences geography—to life for students, bringing them closer to the people and events they and similarities between the students’ are studying.1 Films can also impact and influence a person’s perspective of history lives and the lives of people in other and offer an accurate interpretation of history.2 places and at other times are easier to perceive. The compelling images and This article aims to identify and and sound, makes them exceptional at scenes enable students to make compari- describe specific films that teachers captivating students. sons between cultures and customs and, can use to supplement and enhance People are all drawn to movement; when fostered by discussion, may help the social studies curriculum (grades movement alerts the mind to danger and them develop greater appreciation and 6-12), while also encouraging reading. changes in the environment. Teachers sensitivity for cultures and customs dif- The article illustrates how teachers can have all had to compete with movement ferent from their own. capture students’ interest and stimulate while trying to keep students focused their imagination as they are learning. on their lessons. When someone passes Getting Started We also provide readers with a research- outside the classroom window or door, Two resources that provide an over- based rationale for using foreign films heads turn to focus on the movement. By all description of films suitable for with English subtitles in the classroom; linking lessons to movement, teachers classroom use are the book Engaging criteria for selecting films suitable for can capitalize on the instinctive preoccu- Reluctant Readers through Foreign Films classroom use; and information on the pation with movement. Studies on “inter- and the website TeachWithMovies.com. legality of using copyrighted material in estingness” indicate that students read at These resources also offer numerous the classroom. a faster rate and at a higher reading level vocabulary, reading, and social stud- when they are interested in what they are ies activities.8 Leonard Maltin’s Movie Capitalizing on Novelty, reading.6 Learning is also more likely to and Video Guide, Tom Wiener’s The Movement, and Interest be retained in long-term memory when Off-Hollywood Film Guide, and Elliot Novelty and movement are two rec- it is attached to an emotional response.7 Wilhelm’s Video Hounds World Cinema ognized ways to attract and maintain American students become emotion- are excellent preliminary guides, provid- student interest. Wolfe states that when ally connected with the lives of people ing brief descriptions of films and their new information is presented in a novel around the world through foreign films, ratings. context, students learn the material in while at the same time participating in Foreign films with English subtitles a deeper, more meaningful way.4 The reading and social studies learning. can be checked out for free from public brain is a “novelty seeker,” writes Sousa.5 libraries or rented from video and DVD Unexpected events provide interest People, Places, and Environment stores. Most of the foreign films described and stimulation. This aspect of foreign Because foreign films come in many in this article were found in various small films, accentuated through movement genres and are set in countries around the town public libraries. With small town S OCIAL EDUCATION 326 Ziyi Zhang in Crouching Tiger, Hidden Dragon (2003). Photograph courtesy of Sony Pictures Classics. ©2000 UCV, LLC ©2000 United China Vision, Inc. All rights reserved. availability as a benchmark, teachers Technical Issues The national social studies standards are should have little problem finding the Ideally, films should be shown on a large described at www.ncss.org/standards. films they need in their public libraries. screen using a liquid crystal display The following annotated list of foreign Foreign films can also be ordered online. (LCD) to project the film onto a screen. films is adapted from a list recommended Prices for films range from $.25 to $25 This allows large groups of students by Kerry Holmes, one of the authors of this depending on format (VHS or DVD) and greater visibility for reading subtitles. article.9 These films address, to varying condition (new or used). Many are well However, during a pilot study in a rural degrees, the 10 social studies themes. Each under $10, if bought used, through shop- high school in Mississippi, students were film is briefly described along with some ping websites such as Amazon.com. shown a subtitled film on an older televi- of the dominant social studies themes that Viewing films beforehand for les- sion with a relatively small screen. All can be pursued in the classroom. son and age suitability is advisable. In students were able to see and read along some cases, teachers may choose to with the subtitles. This was determined Au Revoir Les Enfants, Grades 9-12 show clips from the film to illustrate or because students laughed and expressed Rated PG dramatize aspects of a lesson. At other sorrow during scenes where the meaning Set outside of Paris, France, during 1944, times, they may wish to show the film in was primarily communicated through this is a biographical history of 12-year- its entirety. By previewing the film, teach- print. The size of the class and location of old Julien, a non-Jewish boy, who becomes ers can determine the length of clips, and the television are two issues that should best friends with Jean, a Jewish boy hiding show the film over an extended period determine the type of equipment needed from the Nazis in a Catholic boarding of time to meet the objectives, needs of for classroom viewing. school. A vengeful act by a worker at the the students, and that perennial problem school sets off a chain of events that will of short class periods. Other criteria to Foreign Films for the Classroom haunt Julien all of his life. consider when choosing films include Foreign films with English subtitles This film addresses the social studies are easily aligned with the National theme of TIME, CONTINUITY, AND CHANGE. • educational worth Standards for Social Studies. Social The world beyond the boarding school has • interest of the plot to the students studies standards are organized around changed. Once innocent actions are now ten interrelated themes that are based deadly. Institutions such as school, home, • suitable levels of language and on the social sciences and related dis- and restaurants appear to be the same, to violence ciplines including history, geography, all outward appearances. However, the • absence of sexually explicit scenes civics, and economics. By connecting war and enemy occupation have infused • speed of words as they appear in themes from the films to the social studies hatred and anxiety into the most normal the subtitles themes, teachers can facilitate reading, of daily routines. A boarding school filled problem solving, and the examination with preadolescent and adolescent boys • readability of the printed text of critical issues within real-life contexts. demonstrates the power of peers and the O CT O BER 2007 327 need for peer acceptance. ( INDIVIDUAL The themes of INDIVIDUALS, GROUPS, Crouching Tiger, Hidden Dragon, DEVELOPMENT AND IDENTITY) AND INSTITUTIONS, and CIVic IDEALS Grades 9-12, Rated PG-13 AND PRACTICES are explicit in this film. Set in nineteenth-century China, this Babette’s Feast, Grades 6-12 Institutions such as the family, church, film weaves nonstop action through the Rated G and government agencies impacted the unfolding events of two love stories. This This story is set in Frederikshavn, life of the major character. The civic is a story about women who possess super- Denmark, in1834. Frederikshavn is a ideals of responsibility and honesty are human qualities and their quest for power small community on the northeast coast largely the focus of this film. The viewer and love. The possession of the Green of Jutland, the largest geographical region sees how people must part with their Destiny sword, a sword with magical in Denmark. Film footage highlights life worldly goods, as illustrated through powers, leads to triumph sacrifice and in a small coastal Danish town, present- the burgeoning stockpiles at a pawn shop tragedy. ing homes with thatched roofs, a tiny gro- ( TIME, CONTINUITY, AND CHANGE). Antonio Students can compare and contrast cery store, the style of dress, transporta- also undergoes a dramatic change to issues related to gender roles, honor, tion, and food preparation techniques. meet the needs of a new life. responsibility, and being true to oneself. Philippa and Martina, two daughters ( CULTURE; INDIVIDUAL DEVELOPMENT AND of a pious minister, lead a simple, pure Children of Heaven, Grades 6-12 IDENTITY; TIME, CONTINUITY, AND CHANGE; and life, honoring God and serving the poor. Rated PG POWER, AUTHORITY, AND GOVERNANCE) Their values are severely challenged Set in the homes, market places, and a when Babette, a French woman, seeks school of modern day Tehran, the cap- East-West, Grades 9-12 employment and refuge at their house.
Load more

Recommended publications
  • 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
    [Show full text]
  • War Memory Under the Leonid Brezhnev Regime 1965-1974
    1 No One is Forgotten, Nothing is Forgotten: War Memory Under the Leonid Brezhnev Regime 1965-1974 By Yevgeniy Zilberman Adviser: Professor David S. Foglesong An Honors Thesis Submitted To The History Department of Rutgers University School of Arts and Sciences New Brunswick, NJ April, 2012 2 Table of Contents Acknowledgements Pg. 3 Introduction Pg. 5 1964-1967: Building the Cult Pg. 18 a) Forming the Narrative: Building the Plot and Effacing the Details Pg. 21 b) Consecrating the War: Ritual, Monument and Speech Pg. 24 c) Iconography at Work: Soviet War Poster Pg. 34 d) Digitizing the War: On the Cinema Front Pg. 44 1968-1970: Fascism Revived and the Battle for Peace Pg. 53 a) This Changes Everything: Czechoslovakia and its Significance Pg. 55 b) Anti-Fascism: Revanchism and Fear Pg. 59 c) Reviving Peace: The Peace Cult Pg. 71 1970-1974: Realizing Peace Pg. 83 a) Rehabilitating Germany Pg. 85 b) Cinema: Germany and the Second World War on the Film Screen Pg. 88 c) Developing Ostpolitik: War memory and the Foundations for Peace Pg. 95 d) Embracing Peace Pg. 102 Conclusion: Believing the War Cult Pg. 108 Bibliography Pg. 112 3 Acknowledgements Perhaps as a testament to my naivety, when I embarked upon my journey toward writing an honors thesis, I envisioned a leisurely and idyllic trek toward my objective. Instead, I found myself on a road mired with multiple peaks and valleys. The obstacles and impediments were plentiful and my limitations were numerous. Looking back now upon the path I traveled, I realize that I could not have accomplished anything without the assistance of a choice collection of individuals.
    [Show full text]
  • Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions
    Alexander Fedorov Soviet science fiction movies in the mirror of film criticism and viewers’ opinions Moscow, 2021 Fedorov A.V. Soviet science fiction movies in the mirror of film criticism and viewers’ opinions. Moscow: Information for all, 2021. 162 p. The monograph provides a wide panorama of the opinions of film critics and viewers about Soviet movies of the fantastic genre of different years. For university students, graduate students, teachers, teachers, a wide audience interested in science fiction. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 1 Table of Contents Introduction …………………………………………………………………………………………………………………………3 1. Soviet science fiction in the mirror of the opinions of film critics and viewers ………………………… 4 2. "The Mystery of Two Oceans": a novel and its adaptation ………………………………………………….. 117 3. "Amphibian Man": a novel and its adaptation ………………………………………………………………….. 122 3. "Hyperboloid of Engineer Garin": a novel and its adaptation …………………………………………….. 126 4. Soviet science fiction at the turn of the 1950s — 1960s and its American screen transformations……………………………………………………………………………………………………………… 130 Conclusion …………………………………………………………………………………………………………………….… 136 Filmography (Soviet fiction Sc-Fi films: 1919—1991) ……………………………………………………………. 138 About the author …………………………………………………………………………………………………………….. 150 References……………………………………………………………….……………………………………………………….. 155 2 Introduction This monograph attempts to provide a broad panorama of Soviet science fiction films (including television ones) in the mirror of
    [Show full text]
  • A Historical Analysis of the Films of Andrei Tarkovsky in Relation to the Post-Thaw Soviet Moment
    A Historical Analysis of the Films of Andrei Tarkovsky in Relation to the Post-Thaw Soviet Moment Gus Helbock Haverford College Class of 2017 History Thesis Professor Linda Gerstein Professor James Krippner April 21, 2017 Helbock i Acknowledgements First, I would like to thank the professors at Haverford College who guided me through my educational experience, especially in the History Department. Specifically, I am grateful for the help that Professor Linda Gerstein and Professor James Krippner provided as my first reader/advisor and second reader, respectively. The advice they gave me and the historical insight they provided were integral in the completion of this thesis. I would also like to thank my family and friends who have given me love and support throughout the entirety of the thesis process. Helbock ii Abstract During the latter half of the twentieth century, Andrei Tarkovsky received arguably more critical admiration for his films than any Soviet director. During his filmmaking career, the Soviet Union experienced a tumultuous socio-cultural, as well as political, moment. After the death of Stalin, the Khrushchev Thaw of the late 1950s and early 1960s allowed for significantly more freedom of expression. It was at this time that Tarkovsky’s career began. However, through the 1960s and 1970s, a reactionary period in Soviet politics led to a return of stringent censorship, making Tarkovsky’s filmmaking process difficult. In the early 1980s, Tarkovsky emigrated to Western Europe, where he completed his final two films before his death in 1986. Due to his contentious relationship with the Soviet state, this thesis will attempt to analyze Tarkovsky and assess his relationship to the Russian intelligentsia and the dissident movements of the late twentieth century, as well as his relationship with spirituality and religion.
    [Show full text]
  • National Gallery of Art Summer 08 Film Program 4Th Street and Mailing Address Constitution 2000B South Avenue Nw Club Drive Washington, Dc Landover, Md 20785
    NATIONAL GALLERY OF ART SUMMER 08 FILM PROGRAM 4th Street and Mailing address Constitution 2000B South Avenue NW Club Drive Washington, DC Landover, MD 20785 ENVISIONING MICHELANGELO MANOEL RUSSIA: ANTONIONI: STANLEY DE OLIVEIRA, MOSFILM FROM THE AFGHANISTAN THE ITALIAN KUBRICK: PORTUGUESE STUDIO ARCHIVES ON FILM TREASURES TWO VIEWS MARVEL An ongoing program of classic cinema, documentary, avant-garde, and area premieres occurs each weekend in the National Gallery’s East Building Auditorium, 4th Street at Constitution Avenue NW. Films are shown in original format. Programs are free of charge but seating is on a fi rst-come, fi rst-seated basis. Doors open approximately 30 minutes before each show. Programs are subject to change. For current information, visit our Web site: www.nga.gov/programs/fi lm or call 202.842.6799. Jul 1 TUE 12:00 From the Archives Helen Frankenthaler — Toward a New Climate 4 FRI 12:00 Afghanistan on Film The Giant Buddhas 3:00 Event Glass: A Portrait of Philip in Twelve Parts 5 SAT 12:30 Envisioning Russia I Walk Through Moscow Streets 2:30 Envisioning Russia Jazzman 4:30 Event Glass: A Portrait of Philip in Twelve Parts 6 SUN 2:00 Envisioning Russia Uncle Vanya 4:30 Envisioning Russia The Ascent 8 TUE 12:00 From the Archives Helen Frankenthaler — Toward a New Climate 11 FRI 2:30 Envisioning Russia July Rain; Courier 12 SAT 4:30 Magic Lantern Show Victorian Transformations 13 SUN 5:00 Magic Lantern Show spirit of ‘76 15 TUE 12:00 From the Archives Helen Frankenthaler — Toward a New Climate 18 FRI 2:30 Afghanistan on Film The Kite Runner 19 SAT 2:00 Antonioni Michelangelo Antonioni (documentary) 4:30 Antonioni I vinti (The Vanquished) 20 SUN 4:30 Afghanistan on Film New Video Art from Afghanistan 22 TUE 12:00 From the Archives Helen Frankenthaler — Toward a New Climate 25 FRI 2:30 Antonioni La Signora senza camelie (Lady without Camellias) 26 SAT 1:30 Stanley Kubrick Dr.
    [Show full text]
  • War and Peace (Sergei Bondarchuk, 1968) and Pan Tadeusz (Andrej Wajda, 1999)
    1 War and Peace (Sergei Bondarchuk, 1968) and Pan Tadeusz (Andrej Wajda, 1999) Rival countries, locked in a hate-hate relationship for centuries; rival, complementary national epics; rival films, though made a generation apart. The Russian film depicts Napoleon’s invasion of Russia as a catastrophe, mitigated by Russian heroism: the Polish film depicts the same event as Poland’s last hope before a dark century of oppression closed in on it. Both biting off far more than any cinematic adaptation could ever chew, though in different ways. Bondarchuk’s problem was not budgetary, for he had all the money the Soviet Union could then afford, which was limitless; neither was it logistical, for he was given as many soldiers as the Soviet Army could give – and they stretch from horizon to horizon. Even though his movie takes all day to watch, his problem was what to cut, from a novel which virtually his entire home audience would have known chapter by chapter.1 1: The two characters I sense were left largely on the cutting-room floor are Lisa, Prince Andrei’s wife (she’s played by Anastasya Verinskaya, who’s Ophelia in the Kosintsev Hamlet ), and Yelena, Pierre’s wife: she’s often seen but has no lines at all. 2 Wajda had a different problem, because Pan Tadeusz is a poem, not a prose work, and his home audience would have known bits of it, at least, off by heart ever since school. A poem, moreover, in rhyming couplets, of which the script uses as much as possible: so the actors have to evolve a style of delivery which is at once conversational yet formal, patterned and yet spontaneous – they enunciate with beauty, clarity, and variety, but it’s not like acting Shakespeare, where the verse is designed to be acted, and not like acting Tolstoy’s prose dialogue.
    [Show full text]
  • The Farewell Symphony Between Paris and Russia by John A. Rice
    The Farewell Symphony Between Paris and Russia by John A. Rice Abstract Sergei Bondarchuk’s epic cinematization of Tolstoy’s War and Peace (1965–67) makes touching use of the last movement of Haydn’s Farewell Symphony. First played by an orchestra on the grounds of the country estate of old Prince Nicholas Bolkonsky, the music comes to be associated, in the course of several recurrences, with the estate’s isolation, emotional as well as physical. The dramatic appropriateness of the Adagio makes viewers forget the chronological disjunction between music composed in 1772 and events taking place more than thirty years later. But perhaps Bondarchuk’s use of the Farewell is not quite as anachronistic as it seems. The symphony plays an unexpected role in letters that a Russian nobleman and a French cellist exchanged from 1783 to 1793, as one of several symphonies by Haydn shipped from Paris to Russia. Thus the Farewell may have really been part of the sound-world of the Russian nobility during the Napoleonic era. Count Nicholas Sheremetev, one of Russia’s richest noblemen, was born in 1751 (thus only a decade or so younger than Tolstoy’s fictional Nicholas Bolkonsky). A youthful visit to Paris in the early 1770s left him passionately fond of French opera, and he devoted much of his life to the production of opera on his estates near Moscow, where his serfs served as singers, instrumentalists, and stagehands. In Paris Nicholas played chamber music with a cellist in the orchestra of the Opéra and the Concert Spirituel whom we know only by his last name, Hivart.
    [Show full text]
  • For Immediate Release for More Information, Please Contact Mary Fessenden at 607.255.3883
    For Immediate Release For more information, Please contact Mary Fessenden At 607.255.3883 Fall 2019 Special Events & Series 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 unless otherwise noted For more information visit http://cinema.cornell.edu Orientation Week Films are FREE Monday, August 26 through Friday, August 30 for new students with ID! FREE to all Cornell students on Friday, August 30 Cornell Cinema launches its fall season on Monday, August 26 and NEW STUDENTS (undergrads, grads & transfers) are invited to attend for FREE through Friday, August 30! Cornell Cinema offers a classic movie going experience in the vintage Willard Straight Theatre and is considered one of the best campus film exhibition programs in the country, showing a wide variety of films every month, including recent hits, classics, world cinema, documentaries, cult favorites and more.
    [Show full text]
  • Archived News
    Archived News 1999-2000 News articles from 1999-2000 Table of Contents Harold Aks, Faculty Emeritus, Dies ................... 3 Ensemble Galilei Performs Ancient and Celtic Art of the String Quartet Course Open to the Music ................................................................ 24 Public .................................................................. 4 Film Festival..................................................... 25 Harriet K. Cuffaro, Ed.D. To Lecture................. 5 Alumnae Vera Wang and Ruth Abram Poetry Slam......................................................... 6 Honored ............................................................ 30 Learning About Social Justice In Nicaragua ...... 7 Concerto Competition Winners Perform.......... 31 Early Childhood Scholarship Awarded .............. 8 President Myers in The Washington Post ........ 32 SLC honored for writing program ...................... 9 SLC Initiates Academic Exchange Program with Cuban University.............................................. 34 New York New Music Ensemble Begins Residency.......................................................... 10 Students Organize First Experimental Film Festival ............................................................. 35 Lecture on Science and Society ........................ 11 MusicFirst! 2000 Celebrates Faculty and Parents Weekend '99 Schedule Highlights ....... 12 Students ............................................................ 39 Life and Work of Grace Paley .......................... 15 Robert Desjarlais
    [Show full text]
  • 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.
    [Show full text]
  • The Image of a Child As a Young in the Cinema of the Soviet Thaw
    Global Journal of HUMAN-SOCIAL SCIENCE: H Interdisciplinary Volume 21 Issue 5 Version 1.0 Year 2021 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Online ISSN: 2249-460x & Print ISSN: 0975-587X The Image of a Child as a Young in the Cinema of the Soviet Thaw By Alena Ianushko Russian State University of Cinematography VGIK Introduction- The character of the Thaw cinema is a young person who was born at a time of great uncertainties. The Soviet Thaw is characterized by a new conflict, which is based on the misunderstanding between children and adults. The appearance of the Soviet juvenile cinema can be marked by the release of the movie “Broken shoes” by Margarita Barskaya. This genre was further explored during the period of the Thaw. While adults destroy their dreams, children try to realize them. A child of the Thaw is not a helpless creature lost in the city; he is a personality who tries to find his place in the huge world. The child's image in the cinema has changed since the release of Tatiana Lukashevich's “The Foundling.” The main character of the movie “Splendid Days” can defend his rights without the help of children's services. The generation gap is carefully analyzed in such Thaw movies as “Ivan's Childhood,” “Destiny of a Man,” “The Boy and the Dove,” “Welcome, or No Trespassing.” So, we can state that there was a big misunderstanding between children and adults. GJHSS-H Classification: FOR Code: 190299 TheImageofaChildasaYoungintheCinemaoftheSovietThaw Strictly as per the compliance and regulations of: © 2021.
    [Show full text]
  • Alexander Ivanov a , * a the Creative Workshop “Center Bozij Dar”, Moscow, Russian Federation
    Media Education (Mediaobrazovanie), 2020, 60(2) Copyright © 2020 by Academic Publishing House Researcher s.r.o. Published in the Slovak Republic Media Education (Mediaobrazovanie) Has been issued since 2005 ISSN 1994-4160 E-ISSN 1994-4195 2020, 60(2): 358-363 DOI: 10.13187/me.2020.2.358 www.ejournal53.com Interview “I Played a Major Role in the Destroyed Movie ‘Moment of Truth’ (‘In August of 1944’)” Alexander Ivanov a , * a The Creative workshop “Center Bozij Dar”, Moscow, Russian Federation Abstract Alexander Ivanov's acting career was quite short – from 1974 to 1986. During this time, he played roles in two dozen films (Goal Choice, Pseudonym: Lukach, Close Distance, Life is Beautiful, Sashka, From the Life of Alexander Blok, Red Bells, The File of a Man in the Mercedes, etc.). But his main role in the film adaptation of the famous novel by Vladimir Bogomolov In August of 1944... (Moment of Truth), alas, has remained unknown to the audience... There are almost no memories of the details of the shooting process of this unfortunate destroyed film at the moment. The existing publications, as a rule, are reduced to describing the conflict between the film director V. Žalakevičius (1930–1996) and the writer V. Bogomolov (1926–2003). The performer of one of the three main roles in this film – Alexander Ivanov – agreed to give this exclusive interview. Keywords: Alexander Ivanov, interview, films, role, Moment of Truth. 1. Introduction Alexander Ivanov's acting career was quite short – from 1974 to 1986. During this time, he played roles in two dozen films (Goal Choice, Pseudonym: Lukach, Close Distance, Life is Beautiful, Sashka, From the Life of Alexander Blok, Red Bells, The File of a Man in the Mercedes, etc.).
    [Show full text]