DOCSLIB.ORG

The Image of Siberia in Soviet, Post-Soviet Fiction and Werner Herzog’S Documentary Films

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Image of Siberia in Soviet, Post-Soviet Fiction and Werner Herzog’S Documentary Films Journal of Siberian Federal University. Humanities & Social Sciences 4 (2015 8) 677-706 ~ ~ ~ УДК 791.43/45 The Image of Siberia in Soviet, Post-Soviet Fiction and Werner Herzog’s Documentary Films Alexandra A. Sitnikova* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 12.09.2014, received in revised form 16.11.2014, accepted 21.12.2014 The article studies the concept of Siberia in audio-visual images of cinematography. The research is made on the basis of several films. In Soviet cinematography the concept of Siberia is analyzed on the basis of Ivan Pyr’ev’s “Skazanie o zemle sibirskoi” (“The saga of Siberia”) (1947), in Post-Soviet cinematography this concept is analyzed on the basis of Viacheslav Ross’s “Siberia. Mon amour” (2011). Regarding foreign films about Siberia, the author focuses on “Bells from the Deep. Faith and Superstition in Russia” (1993) and “Happy people: a Year in the Taiga” (2011) shot by Werner Herzog, a German film director, in co-directorship with Dmitry Vasyukov, a Russian film director. The research resulted in revealed conceptual images of Siberia translated into the culture of cinematography. The article also provides a review of scientific literature on Siberian cinematography. Keywords: Siberia, concept, Siberian cinematography, Siberia in cinematography, image of Siberia in films, fiction films about Siberia, “Skazanie o zemle sibirskoi” (“The saga of Siberia”), “Siberia. Mon amour”, “Bells from the Deep. Faith and Superstition in Russia”, “Happy people: a Year in the Taiga”. Research area: culture studies, art history. Introduction a great number of films about Siberia: some of Modern world often considers Siberia as them are well known, others are known less. some mysterious place somewhere in the south- One part of these films is documentary, the other east of the Eurasian continent viewed in the light one is fiction. The article will study some fiction of mythological concepts, such as never-ending films about Siberia, which show the evolution of winter, cold and snow; bears wandering in cities; views on this territory from the Soviet times up a place of exile and servitude, etc. At that by now to the present. The second focus of research is the the audio-visual culture has generated a great attempt of opening up a visual image of Siberia number of documentary and fiction films showing in cinematography. It implies the study of foreign either a more realistic Siberia or, vice versa, cinematography, depicting the image of Siberia, enriching this territory with new myths. The and namely the analysis of Werner Herzog’s film present article will focus on the image of Siberia “Bells from the Deep. Faith and Superstition in in cinematography. Undoubtedly, there appeared Russia” and his producer project “Happy people: © Siberian Federal University. All rights reserved * Corresponding author E-mail address: [email protected] – 677 – Alexandra A. Sitnikova. The Image of Siberia in Soviet, Post-Soviet Fiction and Werner Herzog’s Documentary Films a Year in the Taiga”. What explains the interest to overview on the development of a documentary fiction films in the research is the interest not to film in Omsk, Novosibirsk and Kemerovo regions the objective aspects of Siberian life or impassive as well as methodological directives in the field observations over Siberian nature or a human of educational programmes on cinematography in Siberia, but to conceptual ideas on “Siberia” for children and youth of Siberia and content phenomenon which are formed in cinematography. analysis of Siberian film festivals. Despite the These are mythological, associative, and authors’ fact that a Siberian documentary film is not a interpretations of Siberian objective reality. subject of the present research, it is still vital to It is important to outline a circle of pay attention to the thematic areas, singled out by problems on this or related issue to analyze the N.F. Khil’ko, which are often shown in Siberian films chosen. To begin with it should be noted documentary films as these thematic areas will that the research of the image of Siberia in be mentioned in the analysis of fiction films. cinematography is based on a theoretical aspect Thus, according to N.F. Khil’ko’s research, a of the study of the film art: cinematography documentary film about Siberia is developed in is viewed as a powerful tool of a socio- the following directions: “Availability of similar cultural development of public ideas on certain and identical themes (both in professional and phenomena of objective reality. This position is amateur documentary cinematography – the specifically defined in K.V. Reznikova’s article author’s note): beauty of a native land and love to “Znachenie kinematografa dlia formirovaniia home town; aesthetics of labour and heroism of obshcherossiiskoi natsional’noi identichnosti” everyday work, display of labour trajectories; call (“The significance of cinematography in the for conservancy, national heritage and cultural formation of All-Russian national identity”): monuments; beauty and greatness of science; “The scholars, working out a constructivist outstanding cultural professionals of the region” approach, view cinematography as well as mass (Khil’ko, 2010, p. 101). media as a most significant force in developing The history and image of Siberia in a social reality. Being the largest industry of cinematography are dwelt upon in the article the modern world, it is cinematography which by E.N. Savel’eva, doing her research on has the potential of maximum influence on the how the concept of Siberia was changing in viewing public. It can productively introduce a cinematography in a historic perspective and certain attitude to a specific situation as well as analyzing the theme of Siberia in Soviet films to the whole epoch, norms and values, bahaviour of the 1960-1970-s. E.N. Savel’eva writes patterns to the society. It is cinematography which about informative aspects of early Siberian makes it possible not only to represent the whole cinematography: “In cases when Siberia turns epoch but also to create and form the history and out to be a place of significant events (but not an the present” (Reznikova, 2013). ethnographic entourage or exotic background) The history of Siberian history and Siberian a conceptual kernel of the plot is constituted documentary cinematography is described in by the idea of primordial essence of natural “Kinematograf Sibiri: kommunikatsiia, iazyk, existence, preserving an ethic constituent of tvorchestvo” (“Siberian Cinematography: human relations. In other words Siberia becomes Communication, Language, Creative Work”), a topos of moral and natural existence of a a capacious book by the Omsk researcher ‘country man’, resisting an impoverished and N.F. Khil’ko. This book provides a detailed artificial ‘city man’” (Savel’eva, 2007, p. 82). – 678 – Alexandra A. Sitnikova. The Image of Siberia in Soviet, Post-Soviet Fiction and Werner Herzog’s Documentary Films In the course of her research of the theme a spiritual search, placed on this topos. Thus, in of Siberia in films E.N. Savel’eva concludes that his “Siberiade” A. Konchalovsky is very precise the reference to regional themes was extremely about absolute honesty of nature, costumes, sound, urgent in Soviet cinematography of the 1960- and psychology. V. Shukshin embodies the image s when the task of the formation of the Soviet of a Siberian village with maximum accuracy multinational community, integral vision of the and trustworthiness practically in all his films. Soviet people was set on the level of the state Altaian landscapes, villages with Siberian izbas socio-cultural development: “The phenomenon (peasants’ houses) are depicted not in passing like of national cinematography was called into being some exotic things but with precise consideration, by the pathos of “familiarizing with the origins” with an eye of an artistic individual who knows as a variant of a traditional collectivist self- this territory from inside. Non-professional actors sentiment. They started to search for the example are often engaged to display the completeness of such total dilution of a human in the world in of the “truth of life”. Shukshin reconstructs the folklore and in folk poetic work. Correspondingly, objective realities of the national culture, realities specific principles of poetics, characteristic of life of the people’s spirit” (Savel’eva, 2007b, to practically all regional professionals, are pp. 62-66). The author’s attempt to analyze being developed. These are convincingness the films about Siberia from the point of genre of narration, documentalism, aiming at the preferences in this sphere is also interesting. vision trustworthiness, authenticity of objective Thus, the researcher comes to the conclusion that reality in films, and its impressive nature. For in most cases a dramatic film is an appropriate completeness of the feeling of “truth” of the local genre for cinematography to give an image of colouring they often engage non-professional Siberia. Thus, it can be assumed that the basis for actors, introduce local dialects and tunes. As Siberian plots is often constituted by tragedy and a result, each shot shows the triumph of life” drama of life which also uncovers the content of (Savel’eva, 2007a, p. 82). E.N. Savel’eva gives a the concept of Siberia in cinematography. detailed analysis of such films about Siberia as As the present article is an attempt to analyze “Siberiade” by A. Mikhalkov-Konchalovsky the images of Siberia in foreign cinematography (1978), “By the lake” (“U ozera”) (Lake Baikal) through Werner Herzog’s documentary and by S. Gerasimov (1970), “The Red Snowball Tree” live-action films, the essential stratum of the (“Kalina Krasnaia”) by V. Shukshin (1973), etc.: research literature is connected with the German “This focus is peculiar for A. Konchalovsky and film director’s creative work. An exotic and V. Shukshin who devoted a part of their creative original vision of the Earth planet as if with an life to Siberia.
Load more

Recommended publications
  • Habemus Papam
    Fandango Portobello presents a Sacher Films, Fandango and le Pacte production in collaboration with Rai and France 3 Cinema HABEMUS PAPAM a film by Nanni Moretti Running Time: 104 minutes International Fandango Portobello sales: London office +44 20 7605 1396 [email protected] !"!1!"! ! SHORT SYNOPSIS The newly elected Pope suffers a panic attack just as he is due to appear on St Peter’s balcony to greet the faithful, who have been patiently awaiting the conclave’s decision. His advisors, unable to convince him he is the right man for the job, seek help from a renowned psychoanalyst (and atheist). But his fear of the responsibility suddenly thrust upon him is one that he must face on his own. ! ! ! ! ! ! ! ! ! ! ! ! !"!2!"! CAST THE POPE MICHEL PICCOLI SPOKESPERSON JERZY STUHR CARDINAL GREGORI RENATO SCARPA CARDINAL BOLLATI FRANCO GRAZIOSI CARDINAL PESCARDONA CAMILLO MILLI CARDINAL CEVASCO ROBERTO NOBILE CARDINAL BRUMMER ULRICH VON DOBSCHÜTZ SWISS GUARD GIANLUCA GOBBI MALE PSYCHOTHERAPIST NANNI MORETTI FEMALE PSYCHOTHERAPIST MARGHERITA BUY CHILDREN CAMILLA RIDOLFI LEONARDO DELLA BIANCA THEATER COMPANY DARIO CANTARELLI MANUELA MANDRACCHIA ROSSANA MORTARA TECO CELIO ROBERTO DE FRANCESCO CHIARA CAUSA MASTER OF CEREMONIES MARIO SANTELLA CHIEF OF POLICE TONY LAUDADIO JOURNALIST ENRICO IANNIELLO A MOTHER CECILIA DAZZI SHOP ASSISTANT LUCIA MASCINO TV JOURNALIST MAURIZIO MANNONI HALL PORTER GIOVANNI LUDENO GIRL AT THE BAR GIULIA GIORDANO BARTENDER FRANCESCO BRANDI BOY AT THE BUS LEONARDO MADDALENA PRIEST SALVATORE MISCIO DOCTOR SALVATORE
    [Show full text]
  • The American Nightmare, Or the Revelation of the Uncanny in Three
    The American Nightmare, or the Revelation of the Uncanny in three documentary films by Werner Herzog La pesadilla americana, o la revelación de lo extraño en tres documentales de DIEGO ZAVALA SCHERER1 Werner Herzog http://orcid.org/0000-0002-7362-4709 This paper analyzes three Werner Herzog’s films: How Much Wood Would a Woodchuck Chuck (1976), Huie’s Sermon (1981) and God´s Angry Man (1981) through his use of the sequence shot as a documentary device. Despite the strong relation of this way of shooting with direct cinema, Herzog deconstructs its use to generate moments of filmic revelation, away from a mere recording of events. KEYWORDS:Documentary device, sequence shot, Werner Herzog, direct cinema, ecstasy. El presente artículo analiza tres obras de la filmografía de Werner Herzog: How Much Wood Would a Woodchuck Chuck (1976), Huie´s Sermon (1981) y God´s Angry Man (1981), a partir del uso del plano secuencia como dispositivo documental. A pesar del vínculo de esta forma de puesta en cámara con el cine directo, Herzog deconstruye su uso para la generación de momentos de revelación fílmica, lejos del simple registro. PALABRAS CLAVE: Dispositivo documental, plano secuencia, Werner Herzog, cine directo, éxtasis. 1 Tecnológico de Monterrey, México. E-mail: [email protected] Submitted: 01/09/17. Accepted: 14/11/17. Published: 12/11/18. Comunicación y Sociedad, 32, may-august, 2018, pp. 63-83. 63 64 Diego Zavala Scherer INTRODUCTION Werner Herzog’s creative universe, which includes films, operas, poetry books, journals; is labyrinthine, self-referential, iterative … it is, we might say– in the words of Deleuze and Guattari (1990) when referring to Kafka’s work – a lair.
    [Show full text]
  • Tatz MIC Castan Essay Dec 2011
    Indigenous Human Rights and History: occasional papers Series Editors: Lynette Russell, Melissa Castan The editors welcome written submissions writing on issues of Indigenous human rights and history. Please send enquiries including an abstract to arts- [email protected]. ISBN 978-0-9872391-0-5 Genocide in Australia: By Accident or Design? Colin Tatz © Indigenous Human Rights and History Vol 1(1). The essays in this series are fully refereed. Editorial committee: John Bradley, Melissa Castan, Stephen Gray, Zane Ma Rhea and Lynette Russell. Genocide in Australia: By Accident or Design? Colin Tatz © Colin Tatz 1 CONTENTS Editor’s Acknowledgements …… 3 Editor’s introduction …… 4 The Context …… 11 Australia and the Genocide Convention …… 12 Perceptions of the Victims …… 18 Killing Members of the Group …… 22 Protection by Segregation …… 29 Forcible Child Removals — the Stolen Generations …… 36 The Politics of Amnesia — Denialism …… 44 The Politics of Apology — Admissions, Regrets and Law Suits …… 53 Eyewitness Accounts — the Killings …… 58 Eyewitness Accounts — the Child Removals …… 68 Moving On, Moving From …… 76 References …… 84 Appendix — Some Known Massacre Sites and Dates …… 100 2 Acknowledgements The Editors would like to thank Dr Stephen Gray, Associate Professor John Bradley and Dr Zane Ma Rhea for their feedback on earlier versions of this essay. Myles Russell-Cook created the design layout and desk-top publishing. Financial assistance was generously provided by the Castan Centre for Human Rights Law and the School of Journalism, Australian and Indigenous Studies. 3 Editor’s introduction This essay is the first in a new series of scholarly discussion papers published jointly by the Monash Indigenous Centre and the Castan Centre for Human Rights Law.
    [Show full text]
  • In Nanni Moretti's La Stanza Del Figlio
    09-Mary Ann_0Syrimis 2/10/14 10:31 AM Page 113 MORETTI ’S CHILDREN : T HE NEXT GENERATION ? MARY ANN MCDONALD CAROLAN Summary : Nanni Moretti’s La stanza del figlio/The Son’s Room (2001) reveals the effects of a child’s death on the protagonist Giovanni (a psy - coanalyst played by Moretti) and his family. This film appears after Aprile/April (1998), which narrates both the birth of the director’s son Pietro as well as the Italian electoral campaign in 1996 in the month of the title. The arrival of a biological son followed by the death of a fic - tional one in Moretti’s oeuvre suggests greater implications for the par - ent-child relationship in Italy. This phenomenon also comments on the relationship between generations of Italian directors. An examination of Moretti’s earlier autobiographical film Caro diario/Dear Diary (1994) gives insight into this director’s relationship to other artists and also sug - gests implications for the future of Italian filmmaking. In Nanni Moretti’s La stanza del figlio /The Son’s Room (2001), the death of a child allows the narrative to explore the highly personal realm of grief. The title of Moretti’s film refers to a now uninhabited space that serves as a metaphor for the void in the family created by Andrea’s (Giuseppe Sanfelice) accidental drowning while scuba diving. The son’s death devas - tates his father Giovanni (Nanni Moretti), mother Paola (Laura Morante), and sister Irene (Jasmine Trinca). Moretti examines the family members’ reactions to this unimaginable loss that leads ultimately to a redefinition of self.
    [Show full text]
  • Inicio Dissertacao
    UNIVERSIDADE ESTADUAL DE CAMPINAS Gabriel Kitofi Tonelo WERNER HERZOG, DOCUMENTARISTA: FIGURAS DA VOZ E DO CORPO CAMPINAS 2012 i ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES Gabriel Kitofi Tonelo WERNER HERZOG, DOCUMENTARISTA: FIGURAS DA VOZ E DO CORPO Dissertação de Mestrado apresentada ao Instituto de Artes da Universidade Estadual de Campinas para obtenção do Título de Mestre em Multimeios. Orientador: Prof. Dr. Fernão Vitor Pessoa de Almeida Ramos CAMPINAS, 2012 iii iv v vi Resumo Este trabalho pretende analisar a obra de documentários do cineasta alemão Werner Herzog sob a ótica da autorreflexão do diretor, através de sua voz e de seu corpo, em seus documentários e da relação estabelecida entre Herzog e a narrativa em cada filme. Procura- se estabelecer como a característica nasceu em sua filmografia e como evoluiu ao longo das cinco décadas de sua atividade como cineasta. Relacionam-se os processos da inserção de Werner Herzog em seus filmes com a teoria, própria do campo do Cinema Documentário, referente à inserção do sujeito-da-câmera na narrativa fílmica. Tomando como ponto de partida as reflexões surgidas no final da década de 1950 acerca da participação do cineasta na narrativa (Cinema Vérité) até as teorias de uma narrativa documentária profundamente voltada para o universo do próprio cineasta, popularizadas nos anos 1980, pode-se dizer que a autorreflexão do cineasta na narrativa é uma questão viva no campo teórico do Cinema Documentário e que é constantemente problematizada e renovada na produção documentária contemporânea. Palavras-Chave: Werner Herzog, Cinema Documentário, Subjetividade, Autoria. vii viii Abstract This work intends to analyse german filmmaker's Werner Herzog documentary ouevre, under the optics of the director's voice and body self-reflexion in his documentaries and the relationship between Herzog and his narratives in each work.
    [Show full text]
  • Wetenschappelijke Verhandeling
    UNIVERSITEIT GENT FACULTEIT POLITIEKE EN SOCIALE WETENSCHAPPEN WERNER HERZOG EN THE ECSTATIC TRUTH: OP ZOEK NAAR DE GRENS TUSSEN FICTIE EN DOCUMENTAIRE Wetenschappelijke verhandeling aantal woorden: 21405 BART WILLEMS MASTERPROEF COMMUNICATIEWETENSCHAPPEN afstudeerrichting FILM- EN TELEVISIESTUDIES PROMOTOR: PROF. DR. DANIEL BILTEREYST COMMISSARIS: PHILIPPE VAN MEERBEECK COMMISSARIS: GERTJAN WILLEMS ACADEMIEJAAR 2011 - 2012 ABSTRACT Werner Herzog, algemeen beschouwd als deel uitmakend van de Neue Deutsche Film beweging, kende het laatste decennium een revival en een hernieuwde waardering van zijn werk. In deze thesis wordt onderzocht hoe Herzogs concept van 'the ecstatic truth' in vele gevallen in strijd is met de genreregels van de documentaire, en zich tegelijk bevindt op de dunne grens tussen fictie en documentaire. Na een korte uiteenzetting van Herzogs leven en werk ga ik dieper in op zijn basisconcept van 'the ecstatic truth'. Vervolgens is er een bespreking van een tiental van Herzogs vroege documentaires, waarin wordt op zoek gegaan naar 'the ecstatic truth'. Na een schetsing van enkele analysemodellen wordt aangetoond dat dit concept gevormd wordt op alle niveaus van analyse, wat duidt op de elasticiteit ervan. Uiteindelijk wordt een van Herzogs meest recente films, Cave of Forgotten Dreams, geanalyseerd op alle niveaus van de modellen, op zoek naar het concept van 'the ecstatic truth'. Dit concept blijkt nog steeds nadrukkelijk aanwezig te zijn in Herzogs manier van realiteitsvorming, zij het in een iets minder flagrante vorm dan ooit het geval was. Herzogs zoektocht is er een naar een perspectief buiten onze werkelijkheid, die weliswaar na al die jaren nog steeds de grenzen van het genre aftast, maar deze grenzen tegelijk overstijgt.
    [Show full text]
  • Load Article
    Arctic and North. 2018. No. 33 55 UDC [332.1+338.1](985)(045) DOI: 10.17238/issn2221-2698.2018.33.66 The prospects of the Northern and Arctic territories and their development within the Yenisei Siberia megaproject © Nikolay G. SHISHATSKY, Cand. Sci. (Econ.) E-mail: [email protected] Institute of Economy and Industrial Engineering of the Siberian Department of the Russian Academy of Sci- ences, Kransnoyarsk, Russia Abstract. The article considers the main prerequisites and the directions of development of Northern and Arctic areas of the Krasnoyarsk Krai based on creation of reliable local transport and power infrastructure and formation of hi-tech and competitive territorial clusters. We examine both the current (new large min- ing and processing works in the Norilsk industrial region; development of Ust-Eniseysky group of oil and gas fields; gasification of the Krasnoyarsk agglomeration with the resources of bradenhead gas of Evenkia; ren- ovation of housing and public utilities of the Norilsk agglomeration; development of the Arctic and north- ern tourism and others), and earlier considered, but rejected, projects (construction of a large hydroelectric power station on the Nizhnyaya Tunguska river; development of the Porozhinsky manganese field; place- ment of the metallurgical enterprises using the Norilsk ores near Lower Angara region; construction of the meridional Yenisei railroad and others) and their impact on the development of the region. It is shown that in new conditions it is expedient to return to consideration of these projects with the use of modern tech- nologies and organizational approaches. It means, above all, formation of the local integrated regional pro- duction systems and networks providing interaction and cooperation of the fuel and raw, processing and innovative sectors.
    [Show full text]
  • Lyubov Orlova: Stalinism’S Shining Star,’ Senses of Cinema, Issue 23: the Female Actor, December 2002
    Dina Iordanova, ‘Lyubov Orlova: Stalinism’s Shining Star,’ Senses of Cinema, Issue 23: The Female Actor, December 2002. Available: https://www.sensesofcinema.com/2002/the-female-actor/orlova/ Lyubov Orlova: Stalinism’s Shining Star Dina Iordanova Issue 23 A Lyubov Orlova filmography appears at the bottom of this article. A misguided assumption about Soviet cinema, which still persists, is that it’s a national cinema mostly comprised of depressing war dramas in which popular genres were neglected and even suppressed. This is certainly not the picture of Soviet cinema I remember when, 1 growing up in 1960s Bulgaria, I could enjoy a fair share of popular films, like the Soviet action-adventure Neulovimyye mstiteli/The Elusive Avengers (1966) or Yuri Nikulin’s superb comedies, all playing in theatres alongside the comedies of Louis de Funès or Raj Kapoor’s ever-popular weepy Awara/The Vagabond (1951). A highlight was Eldar Ryazanov’s musical, Karnavalnaya noch/Carnival Night (1956), with Lyudmila Gurchenko’s unforgettable dancing and singing. Made several years before I was even born, Carnival Night was so popular that by the time I started watching movies it was still regularly playing in theatres as well as being shown on television. Here, a buoyant and beautiful Lydmila Gurchenko leads a group of amateur actors to undermine the plans of the Culture Ministry and its boring leadership in order to turn a New Year’s Eve celebration into an exciting vibrant extravaganza, with confetti, sparklers and crackers. It was only later, in my teenage years when I started visiting the Sofia Cinémathèque, that I realized how Carnival Night in many aspects replicated Grigoriy Aleksandrov’s musical extravaganzas of the 1930s.
    [Show full text]
  • List of Films Shown by NWFS
    List of films shown by NWFS 2015 Feb The little death MA Australia English 2014 95 mins http://www.imdb.com/title/tt2785032/?ref_=fn_al_tt_1 Mar Two days, one night M Belgium French 2014 91 mins http://www.imdb.com/title/tt2737050/?ref_=nv_sr_1 Apr Finding Vivian Maier PG USA English 2014 84 mins http://www.imdb.com/title/tt2714900/?ref_=fn_al_tt_1 Apr The dark horse M New Zealand English 2014 124 mins http://www.imdb.com/title/tt2192016/?ref_=nv_sr_1 May Leviathan M USSR Russian 2015 141 mins http://www.imdb.com/title/tt2802154/?ref_=nv_sr_1 Jun Love is strange M USA English 2015 94 mins http://www.imdb.com/title/tt2639344/?ref_=nv_sr_1 Jul Trash M Brazil Portuguese 2014 114 mins http://www.imdb.com/media/rm3038037760/tt1921149?ref_=tt_ov_i/ Jul The mafia only kills in summer M Italy / USA Italian/English 2013 90 mins http://www.imdb.com/title/tt3374966/?ref_=fn_al_tt_1/ Aug Partisan CTC Australia English 2015 98 mins http://www.imdb.com/title/tt3155242/?ref_=nv_sr_1/ Sep Kumiko, the treasure hunter PG Japan / USA Japanese / English 2014 105 mins http://www.imdb.com/title/tt3263614/?ref_=nv_sr_1/ Oct Living is easy with eyes closed M Spain Spanish 2013 108 mins http://www.imdb.com/title/tt2896036/?ref_=nv_sr_2/ Nov Madame Bovary M USA English 2014 118 mins http://www.imdb.com/title/tt2334733/?ref_=rvi_tt/ Dec Waking the camino - six ways to Santiago PG USA English 2014 84 mins http://www.imdb.com/title/tt2406422/?ref_=fn_al_tt_1 2014 Feb 20 Feet From Stardom M US - English 2013 90 mins Mar Fill The Void PG Israel - Hebrew 2013 90 mins
    [Show full text]
  • Fringe Law & Economics
    LUISS GUIDO CARLI , ROME DOTTORATO DI RICERCA IN DIRITTO ED ECONOMIA XXV CICLO FRINGE LAW & ECONOMICS GOOGLE , COMPETITION COMPETITION LAW IN ECONOMICS OF FAILURE POLICY AND THE DEVELOPING IN MOVIES AFTER THE HEGEL 'S OWL COUNTRIES . BIG CRISIS INDIA , A CASE STUDY Rosamaria Bitetti 15th January, 2013 2 | P a g e Index 1 Contents RINGRAZIAMENTI .................................................................................................... 6 GENERAL INTRODUCTION ....................................................................................... 7 SECTION I GOOGLE , COMPETITION POLICY AND THE HEGEL 'S OWL ..................................... 11 1 Can the Hegel's owl spread its wings and fly? ............................................. 12 2 The new economy: did the dusk begun to fall? ............................................ 14 3 The breeze of Behavioral antitrust ................................................................ 20 4 Google, a tale of a virtuous monopolist? ...................................................... 22 5 The trouble with dominance ......................................................................... 26 6 The trouble with abuses ................................................................................ 32 6.1 Refusal to supply ................................................................................................................... 34 6.2 Tying or bundling ................................................................................................................. 36 7 The
    [Show full text]
  • Soviet Female Film Stars in the People's Republic of Ch
    Document generated on 09/25/2021 8:15 p.m. Journal of the Canadian Historical Association Revue de la Société historique du Canada Socialism, Aestheticized Bodies, and International Circuits of Gender: Soviet Female Film Stars in the People’s Republic of China, 1949–1969 Tina Mai Chen Global Histories Article abstract Histoires mondiales This paper analyses the importance of love relations and sexuality in Soviet Volume 18, Number 2, 2007 film for Chinese socialism in the 1950s and 1960s. By looking at the movement of Soviet women across the Sino-Soviet border — in films and as part of film URI: https://id.erudit.org/iderudit/018223ar delegations — I highlight the international circuits of gender that shaped DOI: https://doi.org/10.7202/018223ar socialist womanhood in China. I examine Chinese discussion of Soviet film stars including Marina Ladynina, Vera Maretskaia, and Marina Kovaleva. I locate the movement away from 'fun-loving post-revolutionary' womanhood See table of contents associated with Ladynina to socialist womanhood located in struggle and partisanship within the larger context of Maoist theory and Sino-Soviet relations. In my examination of debates over which female film stars were Publisher(s) appropriate for China I draw out celebrated and sanctioned couplings of Chinese and Soviet film heroines, such as the links made between Zoya and The Canadian Historical Association/La Société historique du Canada Zhao Yiman. By looking at how Soviet film stars became part of Chinese political aesthetics, sexuality and love emerge as more important to our ISSN understanding of womanhood in Maoist China than has been recognized by 0847-4478 (print) most scholars of gender in China.
    [Show full text]
  • Bruce Chatwin, a Kindred Spirit Who Dedicated His Life to Illuminating the Mysteries of the World
    PRESS NOTES - 2020 - MUSIC BOX FILMS LOGLINE Werner Herzog travels the globe to reveal a deeply personal portrait of his friendship with the late travel writer Bruce Chatwin, a kindred spirit who dedicated his life to illuminating the mysteries of the world. SYNOPSIS Werner Herzog turns the camera on himself and his decades-long friendship with the late travel writer Bruce Chatwin, a kindred spirit whose quest for ecstatic truth carried him to all corners of the globe. Herzog’s deeply personal portrait of Chatwin, illustrated with archival discoveries, film clips, and a mound of “brontosaurus skin,” encompasses their shared interest in aboriginal cultures, ancient rituals, and the mysteries stitching together life on earth. WERNER HERZOG Werner Herzog was born in Munich on September 5, 1942. He grew up in a remote mountain village in Bavaria and studied History and German Literature in Munich and Pittsburgh. He made his first film in 1961 at the age of 19. Since then he has produced, written, and directed more than sixty feature- and documentary films, such as Aguirre der Zorn Gottes (AGUIRRE, THE WRATH OF GOD, 1972), Nosferatu Phantom der Nacht (NOSFERATU, 1978), FITZCARRALDO (1982), Lektionen in Finsternis (LESSONS OF DARKNESS, 1992), LITTLE DIETER NEEDS TO FLY (1997), Mein liebster Feind (MY BEST FIEND, 1999), INVINCIBLE (2000), GRIZZLY MAN (2005), ENCOUNTERS AT THE END OF THE WORLD (2007), Die Höhle der vergessenen Träume (CAVE OF FORGOTTEN DREAMS, 2010). Werner Herzog has published more than a dozen books of prose, and directed as many operas. Werner Herzog lives in Munich and Los Angeles.
    [Show full text]