DOCSLIB.ORG

Masha and the Bear: the Jam Day Disaster Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Masha and the Bear: the Jam Day Disaster Free FREE MASHA AND THE BEAR: THE JAM DAY DISASTER PDF none | 24 pages | 02 Jul 2015 | Egmont UK Ltd | 9781405277198 | English | London, United Kingdom Games - Mashabear English EN mashabear. Projects News Videos Games Store. Hockey Goal!!! Who's a true hockey player here? Masha and the Penguin are inviting you to try out a real ice tournament! You can either play against them yourself or ask your friend to compete one-on-one on the same PC. Don't forget to share your results on social media! Play now! Football Ole, ole, ole! How about having real football fun and organizing a world cup with masha and the bear? How many football scores will you get - challenge accepted? You can find four games with limitless replayability and fun. The game is constantly changing so you will Masha and the Bear: The Jam Day Disaster something new every time you start to play. What do you need to start from? If you are up for a special challenge, then Masha will give you a recipe that tells you to look for some special fruits. Help Masha get used to doing the good deeds and pick as many fruits and berries as possible. The rules are very simple - you have to jump from one stump to another, but be careful — try not to fall! So, are you ready? Magic Words Oh, these words are very tricky — they may vanish when they are most needed or overflow at times, Masha and the Bear: The Jam Day Disaster even fall apart and disappear again! Help Masha put the letters back together to form the missing words. The faster you get through this challenge, the sooner you will hear a story from Masha. We believe that only a skillful detective can help Masha and the Bear in this task. In this challenge you need to find a few objects shown on the screen, but it may not be as easy as you think! Time is slipping away and the objects may be hidden anywhere. So be patient and pay attention to details. You can check how quick you are in solving the tasks from the Bear along the way. Then give your brain Masha and the Bear: The Jam Day Disaster little workout and put all pieces together reaching new level of difficulty with every puzzle you complete. ​Masha and the Bear Toy Jam Day on the App Store The show focuses on the adventures of a little girl named Masha and a fatherly bear that always keeps her safe from disasters. The first episode was released in Many of the episodes have been successful on YouTube. Light the Christmas Tree! The show consists of three full seasons, with 26 episodes each. The first thirteen episodes of the fourth season have been launched already. For the first season in English, Elsie Fisher — the voice of Agnes, the youngest of the three girls in the Despicable Me films — was chosen to dub the voice of Masha. Masha is a Russian girl who lives in the forest with her pig, goat, and dog. In the first episode, it is shown that all the animals in the forest are afraid of her, as she is constantly forcing them to play with her. Then Masha sees a butterfly and inadvertently follows it inside the home of the Bear, who has gone fishing. While playing there, she makes a big mess. When he returns, he sees the disaster caused by Masha. The Bear tries to get rid of Masha, but he is unsuccessful, and he and Masha become friends. In each episode of the show, Masha is portrayed as a smart, kind, but mischievous little girl who is exploring the world around her. This leads to many funny and entertaining situations. The kind-hearted Bear is always trying to keep Masha out of trouble, but often ends up the unintended victim of her mischief. There are several supporting characters in the series, including Masha's cousin Dasha, a penguin adopted by the Bear, a young panda cub from China, who is the Bear's cousin, two wolves who live in an old UAZ ambulance car, a tiger that used to work with the Bear in the circus, and a Female Bear that is the object of the bear's affections. Characters also include a hare, squirrels and hedgehogs, a pig called Rosie, a goat, and a dog who all live in Masha's front yard. Masha was based on a real person… In the s, the project's artistic director, Oleg Kuzovkov, was on holiday when he saw a little girl on the beach. The child was so genuine and open that she could easily walk up to a stranger and play chess with him or pick up his flippers and go swimming. However, after a few days, the vacationers began to hide… [10]. The series' production has been handled domestically at Animaccord Animation studio since Then the storyboarding is developed in accordance with the script and, in general, consists of at least slides. After the team finalizes the plot of an episode, the work for the 2D animatic kicks off. At this stage, animators define the duration of each scene in an episode, how characters are placed in it and interact Masha and the Bear: The Jam Day Disaster each other. After this step of the production is finished, the episode is passed for dubbing. Dubbing must be completed before 3D animation is applied, as the 3D animators need to know the characters' dialogue, intonations, and emotions in advance in order to keep their lip movements synchronized to the audio and make their facial expressions look realistic. The 3D animation process begins right after dubbing has been finished. Animators manipulate all the movements that happen during the scenes, such as opening doors, taking books from bookshelves, and creating all the bodily movements required to bring the characters to life. Rendering brings all the processes together. They create the lighting and weather in the scene as determined by the script. Composing is the final stage of production, Masha and the Bear: The Jam Day Disaster the composers review all scenes of an episode, checking the color intensities, smoothing the edges of 3D models, and bringing all the components together to form a complete episode. Then the work is approved by the director and script-writer and uploaded to the show's official YouTube channel MashaBearTV. Masha, her cousin and Father Frost are the only characters who speak. The Masha and the Bear: The Jam Day Disaster communicate through pantomime or wordless sounds. For the third season seven years later inthe officials of Animaccord studio confirmed that the new voice of Masha would be 6-year-old Varvara Sarantseva. The show's sound designer, Boris Kutnevich, provides the voice of The Bear. Mark Kutnevich provides the voice of The Hare. The music for each episode is written by Russian composer Vasily Bogatyrev. According to the Associated Press"Masha, who is dressed in a folk costume with a headscarf, became a household name in many Muslim nations including Indonesia. Netflix has released 27 of the first 29 episodes in 9 episodes of 3 segments each. In Germany, it premiered on Junior. A spin-off series to the show titled Masha's Tales is also available on Netflix. In the show Masha voiced by a much older actress tells classic Russian fairy tales as well as some Grimms' Fairy Tales to her toys. However, Masha makes up her own way of telling the stories Such as putting a magical nutcracker who turns into a prince when she adapts Cinderella. She also mixes up the morals of the stories by often adding an additional ending so that way it could fit with what she's telling her toys. Animaccord reacted to the allegations, saying that only the first two seasons are broadcast in Ukraine, and that Ukrainian viewers mostly watch the animated series on the Ukrainian-language Masha and the Bear channel on YouTube, access to which is not blocked in Ukraine. From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Masha and the Bear on stamps of Russia. This section has multiple issues. Please help improve it or discuss these issues on the Masha and the Bear: The Jam Day Disaster page. Learn how and when to remove these template messages. This section needs to be updated. Please update this article to reflect recent events or newly available information. December This section does not cite Masha and the Bear: The Jam Day Disaster sources. Please help improve this section by adding citations to reliable sources. December Learn how and when to remove this template message. Retrieved Happy Holidays—Animated! The Independent. Retrieved 23 April Retrieved 22 July Date of publication not specified in online article. The Village. The Big Story. Associated Press. Retrieved 12 April Retrieved 13 May Archived from Masha and the Bear: The Jam Day Disaster original on 2 February Retrieved 23 March Archived from the original on 6 February Archived from the original on 13 February Archived from the original on 15 February Animation industry in Russia. Studio Ekran. The Snow Queen. Categories : Russian television series debuts s animated comedy television series s children's television series s Russian television series s animated comedy television series s children's television series s Russian television series Russian children's animated adventure television series Russian children's animated comedy television series Carousel TV channel original programming Russia-1 original programming Cartoonito original programming Masha and the Bear: The Jam Day Disaster TV original programming Russian computer-animated television series Animated television series about bears Animated television series about children.
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Download Thesis
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991.
    [Show full text]
  • SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
    SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production.
    [Show full text]
  • Licensing World Russia 2020 Report
    Report 2 0 2 0 www.licensingworld.ru www.kidsrussia.ru KIDS RUSSIA 2020: EXHIBITOR PROFILE Exhibitors TOP-5 reasons to participate 2019 2020 at Kids Russia: TOTAL: 203 168 1. Successful positioning of new products National: 168 144 2. Quality of visitors International: 12 24 No countries: 15 13 3. Post-fair business (expected) 4. Number of contacts with new customer Exhibition space: 7.000 м2 5. Number of firm sales talks «We represent our region and promote companies of the Udmurt Republic and Made in Udmurtia brand throughout Russia. We are participating in this exhibition of children’s products collectively for the first time, before that our regional companies took part in it individually. I actually really like the organization of this exhibition. 90,0% A large territory, bright, beautiful, large-scale stands, a lot of interesting things.» of exhibitors intend to participate Svetlana TRUDOLYUBOVA, Event Specialist, in Kids Russia 2021 (2019: 75%) Business Development Center of the Udmurt Republic «We are exhibiting at Kids Russia for the first time. All in one place,all is centralized, it is very convenient. The Russian market is large enough, and we are trying and doing everything we can to show our products and saturate the Russian market with high-quality and inexpensive 45,0% toys.» Aren MYASORUKOV, marketing manager, representative of the of new exhibitors (2019: 35%). collective exposition of the Republic of Uzbekistan «This is the first time when our company participates in such a large-scale exhibition as a manufacturer of children’s products. MARKET LEADERS – PARTICIPANTS We really liked the exhibition, it was so vivid and positive.
    [Show full text]
  • Free-Digital-Preview.Pdf
    THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
    [Show full text]
  • Canadian and Russian Animation on Northern Aboriginal Folklore
    Canadian and Russian Animation on Northern Aboriginal Folklore Elena Korniakova A Thesis in The Individualized Program of The School of Graduate Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Fine Arts) at Concordia University Montreal, Quebec, Canada September 2014 Elena Korniakova, 2014 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Elena Korniakova Entitled: Canadian and Russian Animation on Northern Aboriginal Folklore and submitted in partial fulfillment of the requirement for the degree of Master of Arts (Fine Arts) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _________________________________Chair Chair's name _________________________________Examiner Examiner's name _________________________________Examiner Examiner's name _________________________________Supervisor Supervisor's name Approved by ______________________________________________________ Chair of Department or Graduate Program Director _____________2014 ____________________________________________________ Dean of Faculty -iii- ABSTRACT Canadian and Russian Animation on Northern Aboriginal Folklore Elena Korniakova Aboriginal legends depict the relationships between humans and nature as deeply symbolic and intertwined. When adapted to films by non-Aboriginal filmmakers, these legends are often interpreted in ways which modify human-nature relationships experienced by Aboriginal peoples. I explore such modifications by looking at Canadian and Russian ethnographic animation based on Northern Aboriginal folklore of the two countries. In my thesis, I concentrate on the analysis of ethno-historical and cinematic traditions of Canada and Russia. I also explore the Canadian and Russian conventions of animated folktales and compare ethnographic animation produced by the National Film Board of Canada and Russian animation studio Soyuzmultfilm.
    [Show full text]
  • Visualizing the Past: Perestroika Documentary Memory Of
    VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA by Erin Rebecca Alpert B.A. in Global Studies, College of William and Mary, 2007 M.A. in Slavic Languages and Literatures, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Erin Alpert It was defended on May 12, 2014 and approved by Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Jeremy Hicks, Reader, Queen Mary University of London, Department of Russian Dissertation Advisor: Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Erin Alpert 2014 iii VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA Erin Alpert, PhD University of Pittsburgh, 2014 The main goal of this dissertation is to look at how, during perestroika, documentary breaks away from the traditional notions of the genre in order to reexamine and redefine traumatic events from the Stalinist period. The first chapter examines the nuances of three critical terms: “documentary,” “collective memory,” and “cultural trauma.” I then turn to a historical approach, exploring how political culture and technology affected the content, production, and screening of documentaries, first discussing the time leading up to perestroika and then the massive changes during the glasnost era. In the final chapters, I argue that there are three primary approaches the films examined in this project take to understanding the past.
    [Show full text]
  • Content Report $0/5&/5 3&1035 $0
    $*4$C0/5&/5ONTENT$C0/5&/53R3&1035EPORT&1035 $C 3FWJFXPGBVEJPWJTVBMDPOUFOUQSPEVDUJPOBOEEJTUSJCVUJPOJOUI¥¸¾ÅÇÄŹÅÈɼÀÇÒÄÁ·ÆÇÅ¿¾¹Å»Èɹ·¿»¿ÈÉÇ¿¸ÊÍ¿¿·Ê»¿Å¹¿¾Ê·ÂÓÄźОбзор новостей рынка производства и дистрибуции аудиовизуальногF$*4DPVOUSJFTÅÁÅÄɼÄÉ·о контента Media«»¥М¡ЕДИ ResourcesА ©Рª¬©ª´ЕСУРСЫ ¥МManagement¦¥¦«ЕНЕДЖМЕНТ Í¾»É¹ÄØ ØÆ»¹ÉØ №2 1 April, 2011 §¡¢£¡¥ÇºÁµÂÃÁºÅµfocus ¦ ££¥«DearÆÀ÷Ãź¹µ¿Ë½ colleagues½ ƹÐÁ˾ÄÕƹØйÊËÕŹ˾ÉÁ¹Äǻʾ¼Ç½ÆØÑƾ¼Ç¬¿¾It¬¿¾ is our »» ȾɻԾȾɻԾ great pleasure ½ÆÁ½ÆÁ ÆǻǼÇÆÇ»Ç¼Ç to present ¼Ç½¹¼Ç½¹ ƹŠƹŠtoday ɾ½¹ÃÏÁÁɾ½¹Ã the secÏÁÁ- ˾ÎÆÁÃǦǾÊÄÁ¿¾¼Ç»ÇÉÁËÕÇùоÊË»¾ÊǨ¾É»ÔÂdramatically–¨¾É»Ô ÆÇžÉÆÇÅ¾É it become $POUFOU$POUFOU 3FQPSUstronger3FQPSU »ÔÎǽÁË»ÔÎǽÁË in terms »» of ùÆÌÆà ¹ÆÌpurÆ- RКe¢£§§¥ ±¢°ИНОТЕ v i v a l АТРo f a АЛЬНЫ n i m a tЙ i o n ÆÇžɹ$POUFOU3FQPSU ÊɹÀÌÊ˹ÄÇÈÇÆØËÆÇ ÐËÇ»Åond$POUFOU issue3FQPSU ÈÇÊ»ØҾƹ of CIS:ÊɹÀÌ ContentÊ˹ÄÇ Ë¾Ä¾»ÁÀÁÇÆÆÇÅÌ Report.ÈÇÆØËÆÇ ThankÐËÇ» ÈÉǽ¹Ã you forÅ ½¾É¿¹Ë¾ÄÕÆǼǪ˹ÉǼǦǻǼǼǽ¹ ÃÇËÇÉÔ ƹÃÇƾÏËÇ À¹chaseªË¹ÉÇ¼Ç abilities,¦Ç»Ç¼Ç more ƹÈÇÄƾÆÁؼǽ¹ interestingÃÇËÇÉÔ Á ƹÃÇƾÏËÇ ÊÅÔÊĹin terms ÈÉÇÁÀof coÀ¹- £g¥°¢£РЫН e£ n ¥RОe§ ¢ ±¢ Кin В ¨R УuК s¥¢Р s АИН i a aЕ n£: d £ ÑÆÌÈɾ¿½¾»Ê¾¼ÇÖËÇÀ¹Å¾ËÆÇÁÀÃÇÄÁоÊË»¹»Ê¾ÅԺ̽¾ÅÌʾɽÆÇÁƾÌÊ˹ÆÆÇËÉ̽ÁËÕÊØ ¹your»Ê¾ÅÔ kindºÌ½¾Å repliesÌʾɽÆÇ and registrationsÁƾÌÊ˹ÆÆÇ ËÉ̽ÁËÕÊØfor free trials.
    [Show full text]
  • Association for Slavic, East European, & Eurasian Studies
    1 Association for Slavic, East European, & Eurasian Studies 46th Annual Convention • November 20-23, 2014 San Antonio Marriott Rivercenter • San Antonio, TX “25 Years After the Fall of the Berlin Wall: Historical Legacies and New Beginnings” Stephen E. Hanson, College of William and Mary ASEEES Board President We are most grateful to our sponsors for their generous support. GOLD SPONSOR: East View Information Services BRONZE SPONSORS: College of William and Mary Reves Center for International Studies National Research University Higher School of Economics Indiana University Russian and East European Institute • University of Texas, Austin Center for Russian, Eastern European and Eurasian Studies and Department of Slavic and Eurasian Studies 2 Contents Convention Schedule Overview ..................................................................................................... 2 List of the Meeting Rooms at the Marriott Rivercenter .............................................................. 3 Visual Anthropology Film Series ................................................................................................4-5 Diagram of Meeting Rooms ............................................................................................................ 6 Exhibit Hall Diagram ....................................................................................................................... 7 Index of Exhibitors, Alphabetical ................................................................................................... 8
    [Show full text]
  • RAFA 2015.Pdf
    www.mkrf.ru RAFA is Russian animated film association. RAFA represents the interests of the Russian animation industry and helps to create favorable conditions for the effective development of anima ­­tion in Russia and worldwide. RAFA represents the interests of animation studios of all sizes, as well as individual flmmakers working in animation, including indep endent directors, production designers, animators etc. The association also includes organizations which are involved in animation: TV networks with an interest in animation,distribution companies and Internet companies, that is, all organizations whose business is related to the field of animation and who are interested in joining forces. • If you need to communicate with any Russian studio, organization or animator, • If you need assistance in participation in festivals and film markets in Russia, • If you need to organize the presentation of your services to Russian partners, • If you need talents and studios for co-production JUST CONTACT RAFA! RAFA is proud to present opportunity of Russian animation to you. Today RAFA is 40 best Russian studios that able for cooperation with you and 200 animators, composers, producers etc that would like to join your team. 4 5 CONTENTS RAFA 3 OPENING WORD 7 RUSSIAN ANIMATION TODAY 8 STUDIOS 10 SHORTS 180 ALPHABETICAL LIST 200 ON THE CATALOG WORKED 203 6 7 Dear friends, Russian Animated Film Association offers you the fourth edition of a catalogue of current animated films. In the new release, you will find information on all latest releases in the Russian animated film industry in 2014 and early in 2015. The new catalogue fundamentally differs from its predecessors.
    [Show full text]
  • On the Topics and Style of Soviet Animated Films
    BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE Article On the Topics and Style of Soviet Animated Films ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 16 DOI: 10.1515/bsmr-2017-0002 BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE ABSTRACT This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its develop- ment. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian ani- mation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s para- digm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.
    [Show full text]