Магия глаз: сверхъестественные существа в японском фольклоре
Japanese culture is famous for unique folklore, where monsters called yokai have become very popular. The visual appearance of many yokai occurred in the Edo period (1603-1868) and came to us thanks to the books printed by woodblock printing. The irrepressible imagination of Japanese artists of that time gave rise to amazing creatures, who continue to inspire filmmakers, animators and comic book authors to this day.
The paper is dealt with theory and practice of screenplay elaborated within the conceptual framework of Russian Formalist School in Humanities, in particular with the legacy of Yuri Tynjanov.
Discusses the works of Japanese manga authors of the 1970s – Takemiya Keiko and Hagio Moto, who created a new genre shounen-ai (boy’s love). This genre of manga is intended for female audiences and developed in Japan, but was experienced a considerable influence of European art, especially French literature and cinema.
After the dissolution of the Soviet Union, a foreign culture poured into Russia in a powerful stream. The books of previously banned writers are beginning to be published, and comic books are also being actively promoted, including Japanese manga, about which former Soviet citizens heard for the first time. The spread of manga (and anime) abroad begins only in the mid-1980s, but already in the 1990s its first samples have reached Russia. Therefore in 1995 the first volume of Nakazawa Keiji's "Barefoot Gen", dated to the 50th anniversary of the atomic bombing of Hiroshima and Nagasaki, was published on Russian. But a year earlier another manga was released, today it can be considered the very first manga translated into Russian. It is symbolic that this was manga "Black Jack" by Tezuka Osamu. Thanks to Tezuka Osamu manga was developed into a huge industry during the postwar period and later was able to compete with American comic books and French comics band desine. Tezuka was a doctor by education and in this manga he combined his medical knowledge with the profession of mangaka. The main character Black Jack became a sort of Tezuka Osamu alter-ego and gained a great love of the readers. However, the existence of such a character, unlike, for example, American Mickey Mouse, was hardly known in Russia, so the first issues of Japanese comics were not in great demand. Despite this, in the narrow circle of domestic fans of Japanese animation and manga (otaku) the need for such kind of cultural products was brewing. In the late 1990s, with the development of computer technologies, amateur translations of manga on the Web, including the Russian-speaking segment of the Internet, are widely spread. There are exist informal publishers who publish an unlicensed manga (piratka) on paper. Subsequently, some of them are retrained into official companies, which will mark the appearance of the first Russian publishing houses translating manga in the early 2000s. In this regard, it is important to trace the contents of these works and the specifics of their publication, as well as the experience of publishers, who decided to translate Asian comics into Russian.
A Companion to Russian Cinema provides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies. The most up-to-date and thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglected
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.
In her research, Anastasia Fedorova explores how in the first half of the twentieth century Japanese and Russian filmmakers, critics, and audiences interacted with each other through the medium of film. Drawing on primary sources collected in Japan, Russia, and the U.S., she presents the concept of Realism as a recurrent concern and the chief motivating force behind the interactions between Soviet and Japanese cinema.
The note is devoted to an issue of increasing and transforming nostalgic syndrome in Russian mass movies of the 2000s, especially We Are from the Future (film dylogy 2006-2008) and The Black Lightning (2009). These acse-studies are chosen because of the very intensive work of sub-conscious mechanisms of trauma, symbolic therapy and hyper-compensation. Almost opposite in a question of genre and expressive means both films are very similar in their handle with the 'sacred past', its icons and fetiches.
The correspondence of Senator Count Roman Vorontsov with captain of Preobrazhenskii regiment Petr Chebyshev and Marshal of Shlissel´burg nobility Alexander Artsybashev is a unique source revealing unofficial negotiations regarding the election of Vorontsov as a deputy to the Legislative Commission of 1767 and the composition of the instruction (nakaz) addressed to him. It demonstrates that Roman Vorontsov initiated his election and gave recommendations as to which requests to the Monarch should be included in the instruction to the deputy. The Shlissel´burg nobles elected Vorontsov without apparent hesitation and in most cases took his advice as to the instruction’s content. However, they abandoned some of the count’s ideas and included some claims of their own. The preface to the publication of the documents contextualizes the case in the following respects: personal information on Shlissel´burg nobles participating in the election; the connection of Vorontsov’s activities as Shlissel´burg deputy with his views expressed as a senator and co‑author of the Moscow nobility’s instruction; the importance of the Shlissel´burg instruction case for the exploration of other instructions of the nobility. The investigation leads the author to the conclusion that the demands drawn up by Roman Vorontsov were to a great extent in accordance with the wishes expressed by rank‑and‑file nobility despite some differences in claims and ways of argumentation. The electors first of all appealed to the Monarch’s mercy for their needs whereas the deputy tended to justify his claims with considerations on the State’s well‑being. The task of formulating their interests and problems significantly enhanced communication among the nobility and promoted the dissemination of shared ideas as well as the expression of relatively specific ones. Last, the information provided by this presentation of the Shlissel´burg nakaz can be useful for understanding other instructions as the result of the interaction of different views and not as the final position of all the nobility of a district.
Within a brief historical period, BRICS as an inter-State association has become an influential player in the world economy and politics. BRICS is a primarily political entity, and in that regard, the BRICS grouping correlates with the Shanghai Cooperation Organization (SCO). However, not all the expectations placed on the SCO by the founding countries at the time of its creation in 2001 have been met so far. The question is to what extent expectations may be fulfilled in case of BRICS.
There were several ethnic organizations uniting representatives of the Mordvinians living in Moscow in the 1920s: the society «Syrgozema», the Mordovian club in Maryina Roshcha and the Moscow Mordovian fraternity. These organizations appeared together with other similar organizations in the 1920s as a response to changes of conditions of socio-political life in order to develop ways of self-determination. By the end of the 1920s, the most part of these ethnic societies had ceased existence; the Mordovian organizations had existed until the late 1930s and had also disappeared. The problem of the appearance of the diversity of ethnic organizations and the termination of their activities in Moscow still remains not fully understood, but its importance is undeniable for Russia and for Moscow in particular; the improvement of mechanisms of interaction between peoples remains an urgent task. In this context it is particularly important to consider the activity of specific ethnic groups, integrating them into a single historical context.