Politics of Memory and Cinematography in Modern Russia: the October Revolution and the Civil War
This article discusses the representation of the era of the October Revolution and the Civil War in contemporary Russian popular cinema. It describes the modern tools used by the state to create new images of the past and to reconstruct history in Russian popular culture. It also considers how Russian society has reacted to this official discourse.
The present chapter is dealt to the main steps of becoming and exisiting of Russian film in 1900-1990s.
The paper describes how the market meets culture in modern Russian cinema through the technologies of product placement. Interpreting data of the expert interviews and using content analysis of modern Russian blockbusters, the author reveals peculiarities of product placement in contemporary Russian cinema. Commercialisation of domestic film production industry is also analysed.
product placement; российский кинематограф; реклама; коммерциализация культуры.
This article is talking about state management and cultural policy, their nature and content in term of the new tendency - development of postindustrial society. It mentioned here, that at the moment cultural policy is the base of regional political activity and that regions can get strong competitive advantage if they are able to implement cultural policy successfully. All these trends can produce elements of new economic development.
This book pulls together experts in the fields of economics and Russian culture, all participants in the Samuel P. Huntington Memorial Symposium on Culture, Cultural Change and Economic Development, a follow-up to the 1999 Cultural Values and Human Progress Symposium at Harvard University. As the sequel to the 2001 volume Culture Matters, it discusses modernization, democratization, economic, and political reforms in Russia and asserts that these reforms can happen through the reframing of cultural values, attitudes, and institutions.
Belarusian Yearbook 2013 presents a comprehensive analysis of the key developments in the main sectors of the state and society. Since its inception a decade ago, the Belarusian Yearbook has evolved as a crucial annual initiative of the Belarusian analytical community to compile, conceptualize and present a chronicle of Belarus contemporary history. Contributing to Belarusian Yearbook 2013 were independent analysts and experts, as well as specialists representing varios think tanks, including the Belarusian Institute for Strategic Studies (BISS, Vilnius, Lithuania), the Research Center of the Institute for Privatization and Managment (Minsk, Belarus), NOVAK Axiometrical Research Laboratory (Warsaw, Poland), the Belarusian Ecomomic Research and Outreach Center (BEROC, Minsk, Belarus), the Center for Eastern Studies (Warsaw, Poland), the expert community of Belarus Nashe Mnenie (Our opinion), the Agency of Humanitarian Technologies, the Independent Institute of Socio-Economic and Political Studies (IISEPS), eBelarus Research Center, Agency for Social and Political Expert Appraisal.
Scientific and educational project "Culture of Reconiliation: New historical consciousness in Ukraine" was held in autumn 2015 with the support of the Ministry of Foreign Affairs of Germany and the society "Bochum - Donetsk" (Germany). The project brought together the experts studying the problems of historical memory and the collisions of historical narratives, problems of healing the wounds of the past. How can we exclude the exploration of historical knowledge as a instrument of war propaganda? How can we turn history into space of coexistence and the retention of the human dignity. Historians, philosophers, sociologists and culture experts from several European states combined their efforts in this book.
The book is aimed at the audience of specialists in philosophy of history and all those who are interested in the nature of past and historical memory.
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
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
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.