Отражение войны: культурная травма в постюгославском кинематографе
This article is an attempt to describe international cinema discourse that has developed over the last decades around the events of the break-up of Yugoslavia through the notion of “cultural trauma”.
In the first part of the article theoretical foundation of cultural trauma and some of its related terms (collective memory) are considered. On the basis of theoretical overview, in the second part of the article we build an analysis of the five post-Yugoslavian films, created in the period of the break-up of Yugoslavia and after it. The analysis of these screen-culture works is intended to give an idea about the international discourse, built around the break-up of Yugoslavia, and the role of the Yugoslavian cinematograph in its formation. Moreover, the article tracks the dynamics in the change of film narrations and portrayal from the earlier to the most modern ones.
The international team of authors from all over the world is united in the book by the disire to work out some practical guide lines against violence. Violence reigns supreme in our political and even daily life. Violence is the major threat to mankind. Nevertheless we do not really understand the scope of the threat. The book addresses the problem of violence from all possible perspectives. The major concern of the book is the practical applicability of nonviolence. The authors claim that our world can and should be nonviolent and that is the only possible way to save the planet and ourselves.
The article is devoted to the study of the authoritarianism prevalent in the mass consciousness of Russians. The article describes a new approach to the consideration of the authoritarian syndrome as the effects of the cultural trauma as a result of political and socio-cultural transformation of society. The article shows the dynamics of the symptoms of the authoritarianism, which appear in the mass consciousness of Russians from 1993 to 2011. This paper proposes a package of measures aimed at reducing the level of the authoritarianism in Russian society.
The legitimacy of NATO’s war against Serbia in March 1999 has been widely debated. In the previous chapter, Carl Ceulemans concludes that justice is on the side of NATO’s military campaign. But his analysis is not the only one possible within the framework of Just War Theory. In the following, a different analysis is presented. It shows that while operating within the framework of Just War Theory one can arrive at quite different conclusions from his.
The article deals with F. Kafka’s attitude to the First World War, reflected in his letters, diaries and prose.
In the public discourse, cinematic views on the analysis of movies traditionally prevail. The author suggests another approach: in the course of the experiment aimed to reveal the audience's perception of the film „Welcome to Zombieland the author discovers an atypical interpretation of this horror film as an instrument of educating the young generation, those features of the ideological message of the film that can transform any genre into, it would seem, its complete opposite - a collection of contemporary society norms and behavior patterns. The main conclusion of the article is that the perception of a film is a complex social action which always goes beyond any cinematic interpretations.
Collection of articles is based on materials RUSO Conference October 26, 2013 and primarily focuses on different aspects of origin , course and consequences of the First World War. We investigate the approaching of the war , its relation in Russian and foreign historiography , problems of international relations of the era , the situation in the army and navy. The second major unit materials collection associated with the history of the Great Patriotic War. Considered moral questions of the political climate in the Soviet Union before and at the beginning of this war, the economy , the activities of individual units. Again referred to the exploits of heroes Panfilov . The collection also has special film Prutian campaign in 1711 , Russia's participation in the anti-Napoleonic wars , as well as a number of other problems of Russian history is closely connected with the history of some foreign countries . The collection is intended primarily for historians - researchers, university professors, as well as for all those interested in domestic history of modern and contemporary .
The January uprising, 1863-1864 was estimated by its contemporaries as a turning point not only in the Polish history and Russian-Polish relations, but also in the fate of the Russian Empire and nation-building. Though Russian evaluations varied dramatically depending on political and ideological preferences of conservatives, liberals and revolutionaries, they had some common features. In Soviet period many old approaches to the history of uprising were forgotten, it was examining in the narrow framework of formational and class paradigm and progressive international revolutionary cooperation. In post-Soviet period transformation of theoretical basis of historical studies in spirit of pluralism was accompanied by rebirth of the old approaches with both positive and negative consequences.
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
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.
This paper explores, mainly from a legal perspective, the extent to which the Russian regulations of traditional TV and online audiovisual media policies have been consistent with the Council of Europe (hereinafter CoE) standards. The study compares between the CoE and Russian approaches to specific aspects of audiovisual regulation including licensing, media ownership, public service media, digitalization, and national production. The paper first studies the CoE perspective through examining its conventional provisions related to audiovisual media, the case law of the European Court of Human Rights as well as the CoE non-binding documents. The paper then considers Russian national legislation governing audiovisual media and the Russian general jurisdiction courts’ practice on broadcast licensing. The paper suggests that the Russian audiovisual regulations are insufficiently compatible with the CoE standards and more in line with the Soviet regulatory traditions.