The Film Distribution Market in Russia

Total Page:16

File Type:pdf, Size:1020Kb

The Film Distribution Market in Russia THE FILM DISTRIBUTION MARKET IN RUSSIA Research group: Xenia Leontieva, Senior Analyst at Nevafilm Research. Analysts at Nevafilm Research: Eleonora Kolyenen-Ivanova Valeria Boyko Svetlana Mudrova Anton Makarov Translation: Eclectic Translations http://eclectictranslations.co.uk Nevafilm Nevafilm Group was founded in 1992 and boasts a wide range of expertise in the film industry. Nevafilm Studios has sophisticated sound and dubbing studios in Moscow and St. Petersburg. Nevafilm Cinemas has become a leader on the Russian market in cinema design, film and digital cinema equipment supply and installation. Nevafilm Digital was Russia’s first digital cinema laboratory for digital mastering and comprehensive DCP creation. Nevafilm Emotion distributes alternative content for digital screens. Nevafilm Research has undertaken independent monitoring of the Russian cinema market in the cinema exhibition domain since 2003, and is a regular partner of international research organizations providing data on the development of the Russian cinema market. 33-2B Korablestroiteley Street, St. Petersburg, 199397, Russia Tel.: +7 812 449 70 70, Fax: +7 812 352 69 69 E-mail: [email protected] http://www.nevafilm.ru http://www.digitalcinema.ru This report was prepared by Nevafilm Research strictly for informational purposes. The information contained in this report was obtained from sources that Nevafilm Research considers reliable. However, Nevafilm Research does not guarantee the accuracy nor the completeness of the information presented here for any purposes. The information contained in this report should not be presented to clients as information directly or indirectly recommending investment. All opinions and appraisals contained in this survey represent the opinions of the authors at the time of publication and can change without warning. Nevafilm Research does not bear responsibility for losses or damages that may come from third parties’ use of the information presented in this report, nor from the incomplete presentation of said information. Additional data may be available on request. Neither this document, nor any part of it, may be distributed without the written permission of Nevafilm Research, and may not be reproduced in any way. © 2011, NEVAFILM RESEARCH CONTENTS INTRODUCTION .......................................................................................................................... 8 Political aspects ..................................................................................................... 8 Russia’s power hierarchy and political structure ...................................................... 8 Administrative division and languages of the RF ...................................................... 8 Geographical aspects .............................................................................................. 9 Geographic location and distribution ...................................................................... 9 Time zones ...................................................................................................... 10 Social and demographic characteristics ................................................................... 11 Cultural and religious makeup ............................................................................ 11 Russia’s Population ........................................................................................... 11 Age composition of Russia’s population ................................................................ 11 Level of education ............................................................................................. 12 Economic factors .................................................................................................. 13 Stages of economic development of the RF (crises) ............................................... 13 Ranking by region in the RF ............................................................................... 15 Legal framework for copyright in the RF .................................................................. 16 Official holidays .................................................................................................... 17 1. THEATRICAL FILM DISTRIBUTION .......................................................................... 21 1.1 The overall structure of the Russian film distribution market ................................ 21 1.2 Legal aspects of theatrical film distribution in Russia ........................................... 21 1.2.1 Regulatory agencies governing the industry ................................................. 21 1.2.2 Key legislation .......................................................................................... 22 1.2.3 Basic legal framework, rights and restrictions ............................................... 22 1.2.4 Mandatory fees and tax incentives .............................................................. 24 1.3 Development history of the film distribution market ............................................ 25 1.4 Current market status ..................................................................................... 27 1.4.1 Film distribution infrastructure – exhibition ...................................................... 27 1.4.2 Films in Russian distribution ....................................................................... 37 1.4.3 Peculiarities of Russian distribution ............................................................. 48 1.5 Film distribution and exhibition market volume ................................................... 51 1.6. Film ticket prices ........................................................................................... 54 1.7 Principal market players .................................................................................. 56 1.7.1 Exhibition ................................................................................................ 56 1.7.2 Film distribution ....................................................................................... 66 1.8 Trends and predictions for future development ................................................... 71 2. VIDEO DISTRIBUTION .......................................................................................... 73 2.1 Overall structure of the Russian video distribution market .................................... 73 2.2 Legal aspects of video distribution in Russia ....................................................... 73 2.2.1 Regulatory bodies in the video distribution sector ......................................... 73 2.2.2 Key legal decisions ................................................................................... 74 2.2.3 Basic legal framework, rights, and restrictions .............................................. 74 2.2.4 Duty and tax incentives ............................................................................. 75 2.3 History of the market’s development ................................................................. 75 2.4 Current status of the market ............................................................................ 77 2.4.1 Infrastructure of the video market .............................................................. 77 2.4.2 Video releases .......................................................................................... 79 2.4.3 Video distribution ..................................................................................... 87 2.4.4 Sales volumes on the licensed market ......................................................... 91 2.4.5 An assessment of the market for pirated media ............................................ 94 2.5 Pricing ........................................................................................................... 94 2.6 Principal market players .................................................................................. 97 2.6.1 Video distributors ..................................................................................... 97 2.6.2 Factory production of video discs ............................................................... 110 2.6.3 Sales networks for video media ................................................................. 111 2.6.3.1 Wholesale brokers ............................................................................. 111 2.6.3.2 Chain stores ..................................................................................... 112 2.6.3.3 Brand-name outlets for video distributors and rights holders ................... 118 2.6.3.4 The Internet ..................................................................................... 119 © 2011, NEVAFILM RESEARCH 3 2.7 Trends and predictions for the development of the Russian video market .............. 119 3. DIGITAL STREAMING DISTRIBUTION .................................................................... 121 3.1 Market structure for streaming digital distribution .............................................. 121 3.2 Legal aspects of streaming distribution in Russia ............................................... 122 3.2.1 Regulatory agencies in the video distribution sector ..................................... 122 3.2.2 Key legal statutes .................................................................................... 122 3.2.3 Basic legal framework, rights, and restrictions ............................................. 123 3.2.4 Duty and tax incentives ............................................................................ 127 3.3 The
Recommended publications
  • Organisational Structure, Programme Production and Audience
    OBSERVATOIRE EUROPÉEN DE L'AUDIOVISUEL EUROPEAN AUDIOVISUAL OBSERVATORY EUROPÄISCHE AUDIOVISUELLE INFORMATIONSSTELLE http://www.obs.coe.int TELEVISION IN THE RUSSIAN FEDERATION: ORGANISATIONAL STRUCTURE, PROGRAMME PRODUCTION AND AUDIENCE March 2006 This report was prepared by Internews Russia for the European Audiovisual Observatory based on sources current as of December 2005. Authors: Anna Kachkaeva Ilya Kiriya Grigory Libergal Edited by Manana Aslamazyan and Gillian McCormack Media Law Consultant: Andrei Richter The analyses expressed in this report are the authors’ own opinions and cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members and the Council of Europe. CONTENT INTRODUCTION ...........................................................................................................................................6 1. INSTITUTIONAL FRAMEWORK........................................................................................................13 1.1. LEGISLATION ....................................................................................................................................13 1.1.1. Key Media Legislation and Its Problems .......................................................................... 13 1.1.2. Advertising ....................................................................................................................... 22 1.1.3. Copyright and Related Rights .........................................................................................
    [Show full text]
  • Live News: a Survival Guide for Journalists
    AA SURVIVALSURVIVAL GUIDEGUIDE FORFOR JOURNALISTSJOURNALISTS LIVELIVE NEWSNEWS Front cover picture: A press photographer in a cloud of teargas during a riot in Lima, Peru, in May 2000. Photo: AP / Martin Mejia Title page picture (right) A newspaper vendor waits for customers in Abidjan, Ivory Coast, one of many countries where media have been put under threat. In November 2002, an emergency aid programme was launched by the IFJ, the Communication Assistance Foundation, International Media Support and Media Assistance International, working with the Union Nationale des Journalistes de Côte d'Ivoire (UNJCI) and the West Africa Journalists Association. The programme included training on safety and conflict reporting. Photo: AP / Clement Ntaye. LIVE NEWS A SURVIVAL GUIDE FOR JOURNALISTS Written and produced for the IFJ by Peter McIntyre Published by the International Federation of Journalists, Brussels March 2003 With the support of the European Initiative for Democracy and Human Rights. (i) Live News — A survival guide for journalists Published by the International Federation of Journalists March 2003. © International Federation of Journalists International Press Centre Residence Palace Rue de la Loi 155 B-1040 Brussels, Belgium ✆ +32 2 235 2200 http://www.ifj.org Editor in Chief Aidan White, General Secretary, IFJ Managing Editor Sarah de Jong, Human Rights Officer, IFJ [email protected] Projects Director Oliver Money-Kyrle Written and designed by Peter McIntyre, Oxford, UK [email protected] Acknowledgments The IFJ would like to thank: Associated Press Photos and Reuters, who donated the use of photos; AKE Ltd, Hereford, UK, for advice, information, facilities, and support; Mark Brayne (Dart Centre Europe) for advice on post trauma stress; Rodney Pinder, for comments on the drafts; All the journalists who contributed to, or were interviewed for, this book.
    [Show full text]
  • Tvigle: Unique Opportunity to Capitalize on Explosive Growth in Russia’S Emerging Online Video Market Through Industry Leader
    Strictly private & confidential Tvigle: Unique opportunity to capitalize on explosive growth in Russia’s emerging online video market through industry leader Investor Presentation May 10, 2013 Contents Section 1 Unique Russian online video market opportunity 5 Section 2 Multidimensional business on the cutting edge of modern video 10 technology and media Section 3 Growth targets and high operating efficiency 17 Section 4 Key conclusions for investors 22 APPENDIX A Company details 2 Executive summary Opportunity to enter emerging online in-stream advertising segment through investment in leading Russian online video portal • Tvigle, the pioneer and leader in online video in Russia, is seeking an equity investment to help fund its exceptional growth potential • The CEO and founder has scaled the business, established a top-tier management team and developed a strategy to create a highly profitable leader in a rapidly developing market • Tvigle’s unique strategy has allowed the Company to grow its viewer base to more than 10 million Unique Monthly Viewers (“UVM”) and generate advertising revenue of $10 million gross* (2012) to significantly outperform Tvigle’s peers in terms of return on invested capital • The platform has significant operational leverage as online video emerges as a mass medium in Russia; – Russia’s internet audience has become the largest in Europe (55 mln. users) and is starting to actively watch content online – Each acquired Tvigle viewer will view content longer over time, driving revenue growth as the site’s user base
    [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]
  • 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.
    [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]
  • SVOD Digest: Table of Contents
    SVOD Digest: Table of Contents Published in November 2017, the SVOD Digest report provides succinct state-of-play detail for 337 SVOD platforms across 50 countries. Price: £500/€600/$650 The 54-page report saves time for busy executives by presenting tabular information with one-page per country (OK – India and the US are two pages). Not every platform is listed – just the main ones in each country. We have concentrated on platforms providing TV episodes and movies – so not sports, for example. Our subscriber estimates only include paying subscribers at end-2017 – not trialists or those receiving free access. SVOD Digest platforms covered by country Country No of Platforms covered platforms Argentina 9 Netflix; Amazon Prime Video; Blim; Claro Video; Telefonica On Video; Arnet Play; HBO; Crackle; Qubit Australia 6 Netflix; Amazon Prime Video; Stan; Foxtel Play; YouTube Red; Hayu Austria 10 Netflix; Amazon Prime Video; Amazon Channels; Sky Ticket; Maxdome; A1 Now; TV Now Plus; Flimmit; Rakuten; 3TV Belgium 7 Netflix; Amazon Prime Video; Videoland; Yelo; RTL a l'Infiniti; Movies & Series; Be TV Brazil 6 Netflix; Amazon Prime Video; Claro Video; Globo Play; HBO; Crackle Bulgaria 4 Netflix; Amazon Prime Video; Voyo; Maxi Canada 5 Netflix; Amazon Prime Video; CraveTV; Illico; Fibe Alt TV Chile 8 Netflix; Amazon Prime Video; Blim; Claro Video; Movistar Play; HBO; Crackle; Qubit China 5 Youku Tudou; Iqiyi; Tencent Video; TMall Box Office; LeEco Colombia 8 Netflix; Amazon Prime Video; Blim; Claro Video; Movistar Play; HBO; Crackle; Qubit SVOD
    [Show full text]
  • Global Entertainment and Media Outlook 2018-2022
    Global Entertainment and Media Outlook 2018-2022 Expert opinions Vyacheslav Nikolaev Global and Russian markets: Artem Pulikov Key trends and outlooks Mikhail Voshchinsky Vadim Vereshchagin Oleg Tumanov CONTENTSCONTENTS 9 STEADY GROWTH Development trends in Russia's entertainment and media industry CREATIVE INTELLIGENCE AI: The new business reality NEW ROUND OF DEVELOPMENT Entertainment and media: Global trends 9 METHODOLOGY Detailed calculation methodology for all segments 9 KEY SEGMENTS Russia’s 2018 entertainment and media outlook 19 Internet access 21 TV advertising 23 Internet advertising 27 Cinema 31 OTT video EXPERT OPINIONS Vyacheslav Nikolaev (13) 35 Video games and e-sports Artem Pulikov (17) Mikhail Voshchinsky (25) 37 Virtual reality (VR) Vadim Vereshchagin (29) Oleg Tumanov (33) NEW ROUND OF DEVELOPMENT The entertainment and media market is entering a new phase of development. The lines that once separated the entertainment and media, technology and telecoms industries are becoming more and more blurred. Major content producers have become vertically aligned and integrated with distribution platforms that allow them to access end customers more efficiently, and Internet and telecoms giants are starting to create content and build local integrated ecosystems. The distinctions between segments are blurring, such as the distinctions between print and digital; video games and sports; terrestrial, cable and online TV; and social and traditional media. KEY DRIVERS OF THE NEW ECOSYSTEM 2018 The first year when global revenue from mobile Internet advertising will surpass its traditional equivalent. 3 Media Outlook | 2018 The distinctions between segments are blurring, such as the distinctions between print and digital; video games and sports; terrestrial, cable and online TV; and social and traditional media IN THE EVOLUTION OF ENTERTAINMENT AND MEDIA, TRADITIONAL BUSINESS MODELS ARE BEING REINVENTED SO THAT COMPANIES CAN TAP INTO NEW REVENUE STREAMS AND CREATE MARKET RELEVANCE AT SCALE.
    [Show full text]
  • Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions
    Alexander Fedorov Soviet science fiction movies in the mirror of film criticism and viewers’ opinions Moscow, 2021 Fedorov A.V. Soviet science fiction movies in the mirror of film criticism and viewers’ opinions. Moscow: Information for all, 2021. 162 p. The monograph provides a wide panorama of the opinions of film critics and viewers about Soviet movies of the fantastic genre of different years. For university students, graduate students, teachers, teachers, a wide audience interested in science fiction. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 1 Table of Contents Introduction …………………………………………………………………………………………………………………………3 1. Soviet science fiction in the mirror of the opinions of film critics and viewers ………………………… 4 2. "The Mystery of Two Oceans": a novel and its adaptation ………………………………………………….. 117 3. "Amphibian Man": a novel and its adaptation ………………………………………………………………….. 122 3. "Hyperboloid of Engineer Garin": a novel and its adaptation …………………………………………….. 126 4. Soviet science fiction at the turn of the 1950s — 1960s and its American screen transformations……………………………………………………………………………………………………………… 130 Conclusion …………………………………………………………………………………………………………………….… 136 Filmography (Soviet fiction Sc-Fi films: 1919—1991) ……………………………………………………………. 138 About the author …………………………………………………………………………………………………………….. 150 References……………………………………………………………….……………………………………………………….. 155 2 Introduction This monograph attempts to provide a broad panorama of Soviet science fiction films (including television ones) in the mirror of
    [Show full text]
  • 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]
  • Rock Films Press Packet
    Director Alexey Uchitel Screenplay by Advotya Smirnova Director of Photography Yury Klimenko, Pavel Kostomarov Production Designer Eugene Mitta Music by Alexey Goribol Costume designer Elena Suprun Producer Alexey Uchitel Cast Irina Pegova, Pavel Barshak, Eugeny Tsyganov, Eugeny Grishkovets Production Rock Films with the support of the Federal Agency for Culture and Cinematography Country of production Russia Time 90 min Genre Melodrama Budget $ 0,4 mln Today’s twenty-something Russians are the first generation in the country’s post-communist history to have grown up free. Their twenties are the age of freedom, of fast-changing events and intense emotions. Perhaps only at this age they can live a whole life in one day. A young girl and her two accident companions walk halfway around St.-Petersburg; they flirt and tease each other, and for ninety minutes they act out a real-time romantic drama. This stroll is full of laughter and tears against a backdrop of the hustle and bustle of the streets and some mystifying secret that keeps the audience in suspense. In the end, the mystery is resolved, forever uniting the story with the city. St. Petersburg has never been seen like this before. The city is not shown as a phantom, museum, specter or ruin. This is Petersburg on-line, a beautiful, busting city, in which young Russian Europeans live and suffer freely and easily. Selected Awards: International Film Festival Cottbus 2003: Special Jury Prize for the Outstanding Artistic Solution, FIPRESCI Prize, Boulder Prize; International Film Festival Cleveland
    [Show full text]