Верить и видеть. Искусство соборов XII–XV веков
The author discusses an idea of composing a list of «100 books of Higher School of Economics» as a university canon for a reader and analyzes a long-term publishing project of the Russian Christian Humanitarian Institute called «The Russian way».
This book is based on materials from the conference 'The USSR: Life after Death', and the round table 'The Second Crash, from the Collapse of the Soviet Union to the Crisis of Neo-liberalism', held in December 2011 and January 2012, respectively. The two events brought together different generations of experts and researchers. For some, Soviet life was part of their personal experience, while for others it was just part of their country’s history. To what extent and in what form have Soviet socio-cultural practices and everyday life patterns survived in the capitalist post-Soviet society? Is the 'Soviet legacy' an obstacle to the development of a new bourgeois society in Russia or, conversely, does it serve to stabilize the new system? Does a 'Soviet mentality' create resistance or help adapt to the neoliberal reality? The answers to these questions, which seemed quite obvious to the mass consciousness back in the 1990s, need to be reconsidered today.
This article examines the role of archivists in shaping the capacity and the structure of a university’s memory. Drawing on sources such as laws and ministerial instructions, the authors analyze the government’s archive policy with regard to universities and how professors and archivists were taking part in its implementation. Their participation included sorting documents and attributing them to individual ‘cases’, destroying some of the ‘unnecessary’ documents and preserving others that were designated for destruction. Based on information from service records and university reports, the article tracks changes in the corporate status of university archivists in nineteenth-century Russia.
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.