DOCSLIB.ORG

Russian Film Week 2019 Catalogue.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

24 NOVEMBER 01 DECEMBER 2019 London, Oxford, Cambridge, Edinburgh ORGANISED BY WWW.RUSSIANFILMWEEK.ORG GENERAL SPONSOR 1 RUSSIAN FILM WEEK IN THE UK London, Oxford, Cambridge, Edinburgh 24 November – 1 December, 2019 CONTENTS WELCOME LETTERS 4 PATRONS 6 VENUES AND MAP 8 SCREENING SCHEDULE (LONDON) 10 FEATURE FILMS 13 DOCUMENTARY FILMS 31 SHORT FILMS 37 VR-MOVIES 47 EVENTS 51 PARTIES 57 PARTNERS & SPONSORS 60 TEAM 61 CONTACTS 62 SPECIAL THANKS 64 2 RUSSIAN FILM WEEK 2019 WELCOME LETTER WELCOME LETTER no doubt become tomorrow’s stars and household names. The Russian fi lm in- dustry is blooming with new content and talent; it is an exciting time. The Russian countries. Another important goal of the Film Week has also transformed over the festival is to support young fi lmmakers. years and achieved some incredible mile- Screening at the Russian Film Week is a stones. great start for them, a chance to present their work to the international audience 2019 is the fi rst year that we are hosting and to talk about what is really important our fi rst world premiere, the fi rst ever for them. public screening of “Servant (a.k.a. The Peasant)“, as our opening fi lm. Moreover, This year the festival will be even larger we are hosting our opening night at the and more interesting both for the public iconic Odeon Leicester Square, where and professionals from the fi lm industry. international premieres and festival are We are waiting for the world premieres held. It was always my dream to open of feature fi lms, short fi lms and VR fi lms, the Russian Film Week at this venue. We the traditional Golden Unicorn Awards have also continued to put on VR events, Ceremony, an industry forum, creative Filip Perkon masterclasses, exhibitions and industry Vadim Lobov meetings, masterclasses and many other Founder and General Producer events, working tirelessly to create value Co-producer of the Russian Film events. In the program of documentary Russian Film Week and for attendees, fi lmmakers and cast alike. Week, Executive Director of Synergy fi lms you would see the incredible Kam- The Golden Unicorn Awards University chatka landscapes, learn the history of Just to check and reward the few who the cult Russian musician — the leader actually read this far of my welcome par- of the DDT group Yuri Shevchuk, get to agraph, do message me on facebook to know more about life and work of the fa- get a complimentary invitation to events. In 2019, Synergy University will become mous writer Vladimir Sorokin, as well as We are excited to bring you the 4th edi- We have also focused on putting on a di- the general partner and co-organizer of discover people whose fates were close- tion of the Russian Film Week, that has verse programme of fi lms this year from the Russian Film Week for the fourth time. ly connected with our country’s historical now solidifi ed its place as the most prom- many genres, balanced between themes, Over the years the festival has grown into events. This is a new amazing experience inent Russian fi lm culture event outside of debutants, prominent fi lmmakers and the largest cross-cultural event in Europe that I advise everyone to live through in Russia. This year we received more than unusual motion pictures. There is now and a big celebration for all lovers of good the cinemas of the Russian Film Week 430 fi lm submissions to participate in the something for everyone and the best that cinema. 2019. Russian Film Week panorama and our Russian cinema has to off er. I thank our Golden Unicorn Awards, but what is re- small team for their tremendous work, our The main goal of the festival is to draw at- I am sure the festival will open many inter- markable is the amount of debut directors sponsors and partners for making it all tention to the Russian cinema and culture. esting directors, actors and screenwriters and cast in this year’s programme. Many possible, and all our attendees and audi- We want the fi lms of our talented directors to the world and will bring great pleasure of the debutant directors, actors and ac- ences for joining us in celebrating crea- to be seen by as many people as possi- to everyone who, like our team, is in love tresses that you will see in our fi lms will tivity, culture and cinematographic talent. ble, not only in Russia but also in other with cinema. See you at the festival! 4 RUSSIAN FILM WEEK 2019 5 PATRONS PATRONS Ralph Fiennes Alexey Uchitel Ralph Fiennes is an English actor, producer (co-produced Award winning Russian fi lm director, producer and Onegin) and fi lm director (Coriolanus). A noted Shake- screenwriter. He is the founder of fi lm studio Rock. Win- speare interpreter, he fi rst achieved success at the Royal ner of Nika, Russian Film Academy Award for best fea- National Theatre. Made his fi lm debut in 1992 as Heath- ture fi lm in 2000. cliff in Emily Brontë’s Wuthering Heights. Nominated for the Academy and Golden Globe Awards for Schindler’s List and for The English Patient. Known for his roles in major fi lm franchises such as the Harry Potter and James Bond. Studied Russian to perform in the Russian-Brit- ish-French co-production Two Women. He is a UNICEF Eduard Pichugin UK ambassador. General Director of Lenfi lm Studios. Board member of the Union of Cinematographers in Russia; President of Kinoalliance, the National Association of the Cinema Pro- fessional Organizations. Engaged in promoting movie Brian Cox presentations and building cinema theaters since 1999. Brian Cox, CBE, is a Scottish actor best known for ap- pearing in The Bourne Identity, The Bourne Supremacy, Braveheart, Rise of the Planet of the Apes, Troy, Doc- tor Who. He is an accomplished Shakespearean actor, Valeriy Todorovskiy spending seasons with the RSC and the National Theatre; Film Director, screenwriter, Made his name with Country taught Shakespeare in Russia for the Moscow Art Thea- of the Deaf, Hipsters and the gangster TV series Brigada tre actors. Nominated for Scottish BAFTA 2016 for Best which achieved cult status. Nominated for and received Actor and for Golden Globe for Best Actor – Miniseries awards at a number of prestigious fi lm festivals, such as or Television Film; winner of Primetime Emmy Award for Cannes, Geneva, Chicago. Winner of Russian awards: Outstanding Supporting Actor – Miniseries or a Movie. Kinotavr, TEFI, Golden Eagle, Nika. 6 RUSSIAN FILM WEEK 2019 7 VENUES AND MAP (LONDON) Pushkin House 5A Bloomsbury square, London, WC1A 2TA Regent Street Cinema 307 Regent Street, London W1B 2HW Odeon Luxe Leicester Square 22-24, Leicester Square, London WC2H 7LQ Curzon Mayfair Cinema BFI Southbank 38 Curzon St, Mayfair, Belvedere Rd, South Bank, London W1J 7TY London SE1 8XT Russia Culture House 37 Kensington High St, Bulgari Hotel London W8 5ED 171 Knightsbridge, London SW7 1DW Cine Lumiere 17 Queensberry Pl, South Kensington, London SW7 2DT 9 SCREENING SCHEDULE (LONDON) SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 24 NOV 25 NOV 26 NOV 27 NOV 28 NOV 29 NOV 30 NOV 1 DEC 6:00 PM 6:00 PM 6:30 PM 6:30 PM 5:00 PM 6:30 PM 1:30 PM 11:30 AM The Peasant + Q&A Break + Q&A Shorts-1 + Q&A The Kettle + Q&A Sheep and Wolves: Sheena667 + Q&A Magician + Q&A Public Talk: Danila Odeon Leicester Regent Street Cinema Regent Street Cinema Regent Street Cinema Pig deal Regent Street Cinema Regent Street Cinema Kozlovskiy Square Russia Culture House The Haymarket Theatre 6:30 PM 9:00 PM 7:00 PM Yuri the Musician Womens Day + Q&A BEEF: Hip-Hop 6:00 PM 7:00 PM 3:00 PM 12:00 PM Cine Lumiere Regent Street Cinema Russia Culture House High Above Masterclass Vladimir Sorokin trip + Q&A Abigail + Q&A Regent Street Cinema Khotinenko Curzon Mayfair Regent Street Cinema 8:30 PM 8:15 PM 7:00 PM Pushkin House Brotherhood The Balkan Line + Nothing Personal Regent Street Cinema Q&A Pushkin House 6:30 PM 7:00 PM 4:00 PM 2:00 PM Curzon Mayfair Kamchatka Bears. Shorts 3 + Q&A Another woman + Ecology documentary Live Begins Russia Culture House Q&A fi lm (winner) + Q&A 8:50 PM 7:30 PM Cine Lumiere Regent Street Cinema Pushkin House The Conquest Russian Five + Q&A, of Siberia + Q&A Bulgari Hotel 7:00 PM 7:30 PM 4:30 PM 2:30 PM Curzon Mayfair Shorts-2 + Q&A Text + Q&A Sabre Dance In the Port of Cape Pushkin House Bulgari Hotel Cine Lumiere Town + Q&A 8:30 PM Bulgari Hotel Great Poetry + Q&A, Cine Lumiere 7:30 PM 8:30 PM 6:00 PM 3:00 PM The Lenin Factor + A Russian Youth + The Snow Queen Love them all + Q&A 8.50 PM Q&A Q&A Mirrorlands Regent Street Cinema The Factory + Q&A, Bulgari Hotel Cine Lumiere Cine Lumiere Curzon Mayfair 8:30 PM 9:00 PM 6:30 PM 4:00 PM 9:00 PM T-34 + Q&A Van Goghs + Q&A My Little Sister The Case + Q&A The Battle + Q&A Regent Street Cinema Regent Street Cinema Regent Street Cinema Pushkin House Regent Street Cinema 8:30 PM 9:00 PM 4:30 PM The Humorist + Q&A Success + Q&A Barabbas + Q&A Cine Lumiere Regent Street Cinema Cine Lumiere 6:00 PM Сonvoy 48 + Q&A Regent Street Cinema 6:30 PM The End of Season + Q&A BFI Southbank 8:00 PM Through a black glass + Q&A Curzon Mayfair 10 RUSSIAN FILM WEEK 2019 11 FEATURE FILMS 13 FEATURE FILMS FEATURE FILMS FEATURE FILMS A Russian Youth / Мальчик русский Another woman / Давай разведёмся DEBUT Abigail / Эбигейл Barrabas/ Варавва Friday, 29 November 2019 / 08:30 PM Sunday, 1 December 2019 / 12:00 PM DEBUT DEBUT Cine Lumiere, 17 Queensberry Pl, South Regent Street Cinema, 307 Regent Street, London Saturday, 30 November 2019 / 04:00 PM Sunday, 01 December 2019 / 04:30 PM Kensington, London SW7 2DT W1B 2HW Regent Street Cinema, 307 Regent Street, London Cine Lumiere, 17 Queensberry Pl, South Q&A
Recommended publications
  • Kira Kovalenko

    Kira Kovalenko

    Non-Stop Production presents UNCLENCHING THE FISTS a film by KIRA KOVALENKO 97 min - Russia – 2021 – Color - 2,35 - 5.1 INTL PR: INTL SALES: DDA Antoine Guilhem [email protected] [email protected] Photos and press kit can be downloaded from https://www.wildbunch.biz/movie/unclenching-the-fists/ SYNOPSIS In a former mining town in North Ossetia, a young woman struggles to escape the stifling hold of the family she loves as much as she rejects. THE FILM The small mining town of Mizur lies high in the mountains of North Ossetia between steep cliffs. Zaur has settled his family here. He keeps his sons and daughter on a short leash, blind to the line that separates fatherly concern from overprotectiveness. His eldest, Akim, has already run off to the nearest city, Rostov, to find work. Meanwhile, his youngest, Dakko, isn’t entirely sure yet what he wants out of life, while middle child, Ada, is actively planning her own escape. Although she’s already a young woman, her father still insists on treating her like a defenseless little girl. Freeing herself from his strong paternal embrace to finally embark on an independent adult life of her own is proving tougher than she anticipated. But just what is this father trying to protect his daughter from? Kira Kovalenko: The initial inspiration for the story came from a line in Faulkner’s Intruder in the Dust about how, while some people can endure slavery, nobody can stand freedom. The idea of freedom as a burden was the single most important theme for me while I was working on the film.
  • The Russian Revolution: a Wider Perspective

    The Russian Revolution: a Wider Perspective

    - THE RUSSIAN REVOLUTION: A WIDER PERSPECTIVE PREFACE to the Source Collection on the Russian Revolution This is a collection of sources provided by members of the Euroclio network and curated by three members of the Historiana team. It Insert Source here: is not a comprehensive overview of the Russian Revolution. Its purpose is to provide some insights into how politicians, diplomats, senior military officers, other officials, revolutionaries, eye witnesses, bystanders, newspaper editors and journalists, ordinary people and even children perceived some of the key events in Russia from January 1917 through to December 1922. We hope that this transnational and multiperspective collection will widen students’ understanding of what happened in Russia in those critical years. The sources have been provided by history teachers and historians from 13 countries, including the Russian Federation, neighbouring states that in 1917 were part of the Russian Empire, states that were then allies or enemies of Russia and even states which were neutral non-combatants in 1917. To obtain these sources the contributors turned to their own national digital and physical archives. Where necessary, contributors summarised texts in English. Painting by British artist David For EUROCLIO this was a pilot experiment in collecting historical Jagger, entitled The Bolshevik sources and we are very grateful to everyone who took part. We (1918). The image combines the think the experiment was successful and EUROCLIO will be planning features of several Bolshevik further crowd-sourcing of collections on other significant moments leaders. and developments in world history in the future. Source: Canadian War Museum Bob Stradling, Louise Sträuli and Giulia Rossi Public Domain Summer 2019 THE HISTORICAL CONTEXT This collection is divided into four Introductionsections.
  • Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)

    Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)

    Journal of Religion & Film Volume 24 Issue 2 October 2020 Article 1 October 2020 Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Maria Hristova Lewis and Clark College, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Part of the Christianity Commons, European Languages and Societies Commons, and the Other Film and Media Studies Commons Recommended Citation Hristova, Maria (2020) "Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)," Journal of Religion & Film: Vol. 24 : Iss. 2 , Article 1. DOI: 10.32873/uno.dc.jrf.24.2.001 Available at: https://digitalcommons.unomaha.edu/jrf/vol24/iss2/1 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Abstract This article engages in close analysis of how Andrey Zvyagintsev depicts corruption and its various manifestations: moral, familial, societal, and institutional, in Leviathan (Leviafan, 2014). While other post- Soviet films address the problem of prevalent corruption in Russia, Zvyagintsev’s work is the first ot provoke strong public reactions, not only from government and Russian Orthodox Church officials, but also from Orthodox and political activist groups. The film demonstrates that the instances of legal and moral failings in one aspect of existence are a sign of a much deeper and wider-ranging problem that affects all other spheres of human experience.
  • Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18

    Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18

    Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town.
  • High Stakes, Drama in Soviet Hockey Reviewed by Susan Welsh Legend No

    High Stakes, Drama in Soviet Hockey Reviewed by Susan Welsh Legend No

    SLAVFILMS High Stakes, Drama in Soviet Hockey Reviewed by Susan Welsh Legend No. 17 (Легенда № 17), 2013 Legend No. 17 Director: Nikolai Lebedev Starring: Danila Kozlovsky, Oleg This fictionalized biopic about the late Soviet Menshikov, Svetlana Ivanova hockey star Valery Kharlamov (played by Danila DVD in Russian, with English subtitles. No U.S. rating; some nudity. Kozlovsky) was the smash hit of the Russian film in- dustry in 2013, grossing $27 million within a month of Red Army, 2014. Director: Gabe Polsky its release. How closely it follows the life and career of Documentary, in English and Russian (with subtitles), rated PG, DVD released in USA: June 2015. Theatrical release in Russia: the real Kharlamov (who died in a car crash in 1981) August 2015 is not known to me, but Kharlamov for sure played a leading role in the famous Summit Series with Canada Hockey was a big battleground of the Cold War, in 1972, when the Soviet team unexpectedly beat the and both Red Army and Legend No. 17 tell that story tough Canadian team in the first game. Whether the in quite different ways, both with a focus on Moscow’s handsome and exuberant young player really climbed ЦСКА (Central Sports Club, Red Army). For both the up the fire escape to the apartment of his beloved to United States and the Soviet Union, hockey was a bring her flowers, read poetry, and ask her to mar- symbol of national pride; for the latter it was also the ry him, is anybody’s guess (not surprisingly, she had recipient of large sums of money, befitting its role as turned a cold shoulder to him when he said, while in a propaganda instrument.
  • Spinning Russia's 21St Century Wars

    Spinning Russia's 21St Century Wars

    Research Article This is an Open Access article distributed under the terms of the Creative The RUSI Journal Commons Attribution-Non-Commercial-NoDerivatives License (https:// creativecommons.org/licenses/by-nc-nd/4.0/). Spinning Russia’s 21st Century Wars Zakhar Prilepin and his ‘Literary Spetsnaz’ Julie Fedor In this article, Julie Fedor examines contemporary Russian militarism through an introduction to one of its most high-profile representatives, the novelist, Chechen war veteran and media personality Zakhar Prilepin. She focuses on Prilepin’s commentary on war and Russian identity, locating his ideas within a broader strand of Russian neo-imperialism. he Russian annexation of Crimea in 2014 brand of militarism that has come to pervade the and the war in the Donbas which began Russian media landscape, Prilepin warrants our T that same year have been accompanied by attention. Studying his career and output can help a remarkable drive to mobilise cultural production to illuminate the context and underpinnings of the in Russia in support of a new brand of state- domestic support for the official military doctrine sponsored militarism. Using a variety of media and policy that is more commonly the subject of platforms and reaching mass popular audiences, scholarship on Russian military and security affairs. a range of cultural celebrities – actors, writers, This article focuses on Prilepin’s commentary rock stars, tabloid war correspondents – have on the nature of war and Russian identity, locating played a key role in framing and shaping domestic his ideas within a broader strand of Russian perceptions of Russia’s 21st Century wars. Despite neo-imperialism in which war is claimed as a vital their prominence in Russian media space, their source of belonging, power and dignity.1 It shows activities have received surprisingly little scholarly how the notion of a special Russian relationship attention to date.
  • Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-2975

    Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-2975

    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
  • Urso De Prata Melhor Contribuição Artística

    Urso De Prata Melhor Contribuição Artística

    Urso de Prata Melhor Contribuição Artística MILAN MARIC DANILA KOZLOVSKY HELENA SUJECKA ARTUR BESCHASTNY ELENA LYADOVA UM FILME DE ALEKSEY GERMAN JR. ESTREIA 29 DE NOVEMBRO WWW.LEOPARDOFILMES.COM SINOPSE Dovlatov é o mais recente filme de Aleksey German Jr., que pela primeira vez vira a sua câmara para a sua cidade natal, Leningrado, nos anos 70 para mergulhar no burburinho quotidiano de uma franja de intelectuais soviéticos dissidentes, Sergei Dovlatov, Joseph Brodsky, entre outras referências a reconhecidos gigantes literários do século XX, que não passarão despercebidos (Yevtushenko, Mandelstam, Steinbeck , Nabokov. Inspirado na obra “O Ofício” (1985), agora em edição portuguesa, pela Editora Antígona, Dovlatov, de Aleksey German Jr., acompanha seis dias na vida do brilhante escritor russo. « Porque a liberdade não possui ideologia. A liberdade favorece na mesma medida o bom e o ruim. A liberdade é como a lua, que ilumina, indiferente, o caminho do predador e da vítima. » SERGEI DOVLATOV, “O OFÍCIO” « “O Ofício” (1985) O árduo ofício de escrever, pelo qual Dovlatov lutou com unhas, dentes e uma Underwood — não é um livro, mas dois: “O Livro Invisível” e “O Jornal Invisível”. O primeiro é a crónica das aventuras e desventuras de um escritor soviético — um certo Dovlatov — que tudo faz, sem êxito, para ser publicado no seu país. Das cedências que o autor recusa fazer às humilhações por ele vividas, dos tolos agentes do sistema aos editores teimosos que com ele se cruzam, é uma hilariante reflexão sobre a burocracia, a censura e a condição dos escritores em reinos da estupidez. O segundo narra a nova vida de Dovlatov nos Estados Unidos, onde, mal chegou, “como convém a um literato russo”, preguiçou seis meses no sofá, e a tentativa não menos difícil de fundar um jornal para imigrantes como ele em Nova Iorque, o centro da liberdade e o umbigo do capitalismo.
  • Johannes Lepsius: Theologian, Humanitarian Activist and Historian of Völkermord

    Johannes Lepsius: Theologian, Humanitarian Activist and Historian of Völkermord

    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2011 Johannes Lepsius: Theologian, humanitarian activist and historian of Völkermord. An approach to a German biography (1858–1926) Kieser, H L Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-61176 Book Section Accepted Version Originally published at: Kieser, H L (2011). Johannes Lepsius: Theologian, humanitarian activist and historian of Völkermord. An approach to a German biography (1858–1926). In: Briskina-Müller, A; Drost-Abgarjan, A; Meissner, A. Logos im Dialogos : Auf der Suche nach der Orthodoxie. Berlin: Lit, 209-229. Johannes Lepsius: Theologian, Humanitarian Activist and Historian of Völkermord. An Approach to a German Biography (1858-1926) Hans-Lukas Kieser After having been almost forgotten for decades, the German pastor, author and activist Johannes Lepsius has in the last twenty years become a topic of heated public discussions in Germany and beyond. Among the recent bones of contention is the federally subsidized Lepsiushaus, that is the house of Johannes Lepsius in Potsdam, now transformed to a memorial and research center, and which is Professor Hermann Goltz's lifework. With good reason, Lepsius was and remains highly respected internationally as a humanitarian and a brave witness of truth with regard to the Armenian genocide. His commitment and his variegated life raise important questions. Can his intellectual and social biography offer new insights into a history which has all too clearly remained a site of contestation until the present day? What of his theological background and his transnational networks? What about the role of his patriotic bonds to Wilhelmine Germany? Writing in exile in Basel in 1937, a family friend, the art historian Werner Weisbach, described how the life of Lepsius was an inspiring example of truthfulness, philanthropy and patriotism.
  • Russian Content Revolution Set to Shake up Mipcom 2017

    Russian Content Revolution Set to Shake up Mipcom 2017

    16-19 October 2017, Palais des Festivals, Cannes, France Press Release RUSSIAN CONTENT REVOLUTION SET TO SHAKE UP MIPCOM 2017 PREMIERE DRAMA AND ANIMATION SCREENINGS TO REVEAL NEW VITALITY FROM RUSSIA Paris, 4 October 2017 – A century after the October Revolution in Russia, the Russian Content Revolution is taking place and will be in the spotlight at MIPCOM 2017. World Premiere Screenings, a series of International Screenings, conferences and networking opportunities will bring fresh high-end content from Russia to the attention of global TV industry. “This autumn marks the 100th anniversary of the Russian Revolution. Two of its protagonists were Lenin and Trotsky. Channel One will showcase on this occasion the docu-drama about Lenin based on previously-unseen archives, while Trotsky will be presented to audiences as the hero of a drama series,” said Konstantin Ernst, CEO of Channel One Russia, producer of the series “Trotsky”. The World Premiere Screening of “Trotsky”, presented by Channel One and Sreda Production, will be the flagship event of the Russian Content Revolution showcase. Its creators hope the series will be an international hit due to its high production values, compelling script, and its complex lead character. “Leon Trotsky was the real mastermind and executive of the October upheaval, virtually its producer. He is an international star of the last 100 years, a real pop-icon, a man of great achievements, who met a tragic fate. Our series is the first drama dedicated to Trotsky in the history of Russia, so we hope to rouse both Russian and international audiences’ interest in this project,” added Ernst.
  • S:\FULLCO~1\HEARIN~1\Committee Print 2018\Henry\Jan. 9 Report

    S:\FULLCO~1\HEARIN~1\Committee Print 2018\Henry\Jan. 9 Report

    Embargoed for Media Publication / Coverage until 6:00AM EST Wednesday, January 10. 1 115TH CONGRESS " ! S. PRT. 2d Session COMMITTEE PRINT 115–21 PUTIN’S ASYMMETRIC ASSAULT ON DEMOCRACY IN RUSSIA AND EUROPE: IMPLICATIONS FOR U.S. NATIONAL SECURITY A MINORITY STAFF REPORT PREPARED FOR THE USE OF THE COMMITTEE ON FOREIGN RELATIONS UNITED STATES SENATE ONE HUNDRED FIFTEENTH CONGRESS SECOND SESSION JANUARY 10, 2018 Printed for the use of the Committee on Foreign Relations Available via World Wide Web: http://www.gpoaccess.gov/congress/index.html U.S. GOVERNMENT PUBLISHING OFFICE 28–110 PDF WASHINGTON : 2018 For sale by the Superintendent of Documents, U.S. Government Publishing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2104 Mail: Stop IDCC, Washington, DC 20402–0001 VerDate Mar 15 2010 04:06 Jan 09, 2018 Jkt 000000 PO 00000 Frm 00001 Fmt 5012 Sfmt 5012 S:\FULL COMMITTEE\HEARING FILES\COMMITTEE PRINT 2018\HENRY\JAN. 9 REPORT FOREI-42327 with DISTILLER seneagle Embargoed for Media Publication / Coverage until 6:00AM EST Wednesday, January 10. COMMITTEE ON FOREIGN RELATIONS BOB CORKER, Tennessee, Chairman JAMES E. RISCH, Idaho BENJAMIN L. CARDIN, Maryland MARCO RUBIO, Florida ROBERT MENENDEZ, New Jersey RON JOHNSON, Wisconsin JEANNE SHAHEEN, New Hampshire JEFF FLAKE, Arizona CHRISTOPHER A. COONS, Delaware CORY GARDNER, Colorado TOM UDALL, New Mexico TODD YOUNG, Indiana CHRISTOPHER MURPHY, Connecticut JOHN BARRASSO, Wyoming TIM KAINE, Virginia JOHNNY ISAKSON, Georgia EDWARD J. MARKEY, Massachusetts ROB PORTMAN, Ohio JEFF MERKLEY, Oregon RAND PAUL, Kentucky CORY A. BOOKER, New Jersey TODD WOMACK, Staff Director JESSICA LEWIS, Democratic Staff Director JOHN DUTTON, Chief Clerk (II) VerDate Mar 15 2010 04:06 Jan 09, 2018 Jkt 000000 PO 00000 Frm 00002 Fmt 5904 Sfmt 5904 S:\FULL COMMITTEE\HEARING FILES\COMMITTEE PRINT 2018\HENRY\JAN.
  • Cuban and Russian Film (1960-2000) Hillman, Anna

    Cuban and Russian Film (1960-2000) Hillman, Anna

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Carnivals of Transition: Cuban and Russian Film (1960-2000) Hillman, Anna The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9733 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] 1 Carnivals of Transition: Cuban and Russian Film (1960-2000) Anna M. Hillman Submitted in accordance with the requirements for the Ph.D. degree. Queen Mary, University of London, School of Languages, Linguistics and Film. The candidate confirms that the thesis does not exceed the word limit prescribed by the University of London, and that work submitted is her own and that appropriate credit has been given to research done by others. 2 ABSTRACT This thesis focuses on ‘carnivals of transition’, as it examines cinematic representations in relation to socio-political and cultural reforms, including globalization, from 1960 to 2000, in Cuban and Russian films. The comparative approach adopted in this study analyses films with similar aesthetics, paying particular attention to the historical periods and the directors chosen, namely Leonid Gaidai, Tomás Gutiérrez Alea, El’dar Riazanov, Juan Carlos Tabío, Iurii Mamin, Daniel Díaz Torres and Fernando Pérez.