Политическая история Рима конца VIII века в художественных источниках
The article is about the comparison of the data on the Iconoclasm from historical sources and monuments of art.
The article analyses the mosaics in the important Roman churches and studies the common meaning of their decorations.
This article is devoted to the analysis of administrative division of the state and existing types of autonomy in unitarian states. Administrative division of Italian Republic as a "regionalistics state" suggested to serve as a model to the future administrative division of Ukraine.
The article provides a comparative analysis of models of electricity industry functioning in Russia and in the world by the example of Great Britain, the USA and Scandinavian countries. The author emphasizes basic models and analyzes advantages and disadvantages in the context of the reform processes taking place in the electricity industry. He gives a classification of the industry functioning models.
The core of the book is based on results of an academic conference held by the Primakov National Research Institute of World Economy and International Relations and the Institute of Europe, Russian Academy of Sciences. Through the prism of the 2009 European Parliament elections, the authors examine the key problems of European integration, i.e. the lack of democratic legitimacy of supranational authorities, the clash of national interests of EU member states, the growing influence of parties and movements that represent an alternative to the traditional political establishment. Particular attention is paid to the international context of political processes in the EU — Brexit, growing uncertainty in EU–US relations, China‘s spreading influence in Europe, as well as the sanctions standoff between the European Union and Russia.
The article deals with the political, theological and cultural dialogue between papal Rome and Imperial Constantinople. The period of 6-8th centuries is the one of Byzantine domination in Rome, and a number of Roman frescoes belong to this period, whose style and iconography give insights into the theological and political polemics, or into the cultural influence of early Byzantine art on the local tradition. Art works are rarely used or not used at all as sources in the study of relations between the two capitals and iconoclasm. This study can helpfully contribute to the overall research view on the subject.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.