Russian and Soviet cinema occupies a unique place in the history of world cinema. Legendary filmmakers such as Sergei Eisenstein, Vsevolod Pudovkin, Dziga Vertov, Andrei Tarkovsky, and Sergei Paradjanov have created oeuvres that are being screened and studied all over the world. The Soviet film industry was different from others because its main criterion of success was not profit, but the ideological and aesthetic effect on the viewer. Another important feature is Soviet cinema’s multinational (Eurasian) character: while Russian cinema was the largest, other national cinemas such as Georgian, Kazakh, and Ukrainian played a decisive role for Soviet cinema as a whole. The Historical Dictionary of Russian and Soviet Cinema provides a rich tapestry of factual information, together with detailed critical assessments of individual artistic accomplishments. This second edition of Historical Dictionary of Russian and Soviet Cinema contains a chronology, an introduction, and a bibliography. The dictionary section has over 600 cross-referenced entries on directors, performers, cinematographers, composers, designers, producers, and studios. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian and Soviet Cinema.
This monograph traces the history of Kazakh filmmaking from its conception as a Soviet cultural construction project to its peak as fully-fledged national cinema to its eventual re-imagining as an art-house phenomenon. The author’s analysis places leading directors—Shaken Aimanov, Abdulla Karsakbaev, Sultan-Akhmet Khodzhikov, Mazhit Begalin—in their sociopolitical and cultural context.
The most important bilateral relationship in Asia since the end of World War II is assuredly between the United States and Japan. Despite the geographical and cultural differences between these two nations, as well as the bitterness leftover from the war, an amicable and prosperous relationship has developed between the two countries boasting the world's largest economies. As the 21st century progresses, the continuing goodwill between the U.S. and Japan is of the utmost importance, as the peace and stability of the Asia-Pacific depends on their cooperation and efforts to contain destabilizing factors in the area. The A to Z of United States-Japan Relations traces this 150 year relationship through a chronology, an introduction, appendixes, a bibliography, and cross-referenced dictionary entries on key persons, places, events, institutions, and organizations. Covering everything from Walt Whitman's poem, "A Broadway Pageant," commemorating the visit of the Shogun's Embassy to the U.S. in 1860, to zaibatsu, this ready reference is an excellent starting point for the study of Japan's dealings with the U.S.
For these very reasons, because Ancient Israel means so much to us and because we actually know so little for sure, The A to Z of Ancient Israel is particularly important. It examines the usual sources in the Old Testament and surveys the findings of more recent archaeological research to help us determine just what happened and when, a far from simple task. It includes entries on most of the persons, places, and events which are generally considered, and shows more broadly what the Kingdoms of Israel and Judah were like and what role they played in the ancient world, but it also defines them as closely as possible according to the latest data.
Reformers had high hopes that the end of communism in Eastern Europe and the former Soviet Union would lead to significant improvements in legal institutions and the role of law in public administration. However, the cumulative experience of 25 years of legal change since communism has been mixed, marked by achievements and failures, advances and moves backward. This book—written by a team of socio-legal scholars—probes the nuances of this process and starts the process to explain them. It covers developments across the former Soviet Union and Eastern Europe, and it deals with both legal institutions (courts and police) and accountability to law in public administration, including anti-corruption activities. In explaining their findings, the authors probe the impact of such factors as the type of political regime (democratic to authoritarian), international influences (such as the European Union), and culture (legal and political). The volume’s contributors are: Mihaela Serban, Kim Lane Scheppele, Kriszta Kovacs, Alexei Trochev, Peter Solomon, Olga Semukhina, Maria Popova, Vincent Post. Marina Zaloznaya, William Reisinger, Vicki Hesli Claypool, Kaja Gadowska, and Elena Bogdanova.
Horror is one of the most enduring and controversial of all cinematic genres. Horror films range from subtle and poetic to graphic and gory, but what links them together is their ability to frighten, disturb, shock, provoke, delight, irritate, and amuse audiences. Horror’s capacity to take the form of our evolving fears and anxieties has ensured not only its notoriety but also its long-term survival and international popularity. This second edition has been comprehensively updated to capture all that is important and exciting about the horror genre as it exists today. Its new entries feature the creative personalities who have developed innovative forms of horror, and recent major films and cycles of films that ensure horror’s continuing popularity and significance. In addition, many of the other entries have been expanded to include reference to the contemporary scene, giving a clear picture of how horror cinema is constantly renewing and transforming itself. The Historical Dictionary of Horror Cinema traces the development of the genre from its beginnings to the present. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries. The entries cover all major movie villains, including Frankenstein and his monsters, the vampire, the werewolf, the mummy, the zombie, the ghost and the serial killer; film directors, producers, writers, actors, cinematographers, make-up artists, special-effects technicians, and composers who have helped shape horror history; significant production companies; major films that are milestones in the development of the horror genre; and different national traditions in horror cinema – as well as popular themes, formats, conventions, and cycles.
The Historical Dictionary of South American Cinema covers the long history of cinema in Portuguese-speaking Brazil and the nine Spanish-speaking countries. These films include Los tres berretines, Prisioneros de la tierra, La balandra Isabel llegó esta tarde, La hora de los hornos, El chacal de Nahueltoro, La teta asustada, Abrir puertas y ventanas, El secreto de sus ojos, and NO. This is done through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 300 cross-referenced dictionary entries on directors, producers, performers, films, film studios and genres. This book is an excellent access point for students, researchers, and anyone wanting to know more about the South American Cinema.
Peter Cornwell tells the story of the greatest air battle of the Second World War when six nations were locked in combat over north-western Europe for a traumatic six weeks in 1940. He describes the day-to-day events as the battle unfolds, and details the losses suffered by all six nations involved: Britain, France, Holland, Belgium, Germany and, rather belatedly, Italy. As far as RAF fighter squadrons in France were concerned, it was an all-Hurricane show, yet it was the Blenheim and Battle crews who suffered the brunt of the casualties. Every aircraft lost or damaged through enemy action while operating in France is listed together with the fate of the crews. The RAF lost more than a thousand aircraft of all types over the Western Front during the six-week battle, the French Air Force 1,400, but Luftwaffe losses were even higher at over 1,800 aircraft.
This monograph traces the history of Kazakh filmmaking from its conception as a Soviet cultural construction project to its peak as fully-fledged national cinema to its eventual re-imagining as an art-house phenomenon. The author’s analysis places leading directors—Shaken Aimanov, Abdulla Karsakbaev, Sultan-Akhmet Khodzhikov, Mazhit Begalin—in their sociopolitical and cultural context.
Russian and Soviet cinema occupies a unique place in the history of world cinema. Legendary filmmakers such as Sergei Eisenstein, Vsevolod Pudovkin, Dziga Vertov, Andrei Tarkovsky, and Sergei Paradjanov have created oeuvres that are being screened and studied all over the world. The Soviet film industry was different from others because its main criterion of success was not profit, but the ideological and aesthetic effect on the viewer. Another important feature is Soviet cinema’s multinational (Eurasian) character: while Russian cinema was the largest, other national cinemas such as Georgian, Kazakh, and Ukrainian played a decisive role for Soviet cinema as a whole. The Historical Dictionary of Russian and Soviet Cinema provides a rich tapestry of factual information, together with detailed critical assessments of individual artistic accomplishments. This second edition of Historical Dictionary of Russian and Soviet Cinema contains a chronology, an introduction, and a bibliography. The dictionary section has over 600 cross-referenced entries on directors, performers, cinematographers, composers, designers, producers, and studios. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian and Soviet Cinema.
Hoffmann details Stauffenberg's formative years, showing how his relationship with his brothers Berthold and Alexander, their association with the circle of the poet Stefan George, and their professional and political development led them to resist the ty
In his major investigation into the nature of humans, Peter Sloterdijk presents a critique of myth - the myth of the return of religion. For it is not religion that is returning; rather, there is something else quite profound that is taking on increasing significance in the present: the human as a practising, training being, one that creates itself through exercises and thereby transcends itself. Rainer Maria Rilke formulated the drive towards such self-training in the early twentieth century in the imperative 'You must change your life'. In making his case for the expansion of the practice zone for individuals and for society as a whole, Sloterdijk develops a fundamental and fundamentally new anthropology. The core of his science of the human being is an insight into the self-formation of all things human. The activity of both individuals and collectives constantly comes back to affect them: work affects the worker, communication the communicator, feelings the feeler. It is those humans who engage expressly in practice that embody this mode of existence most clearly: farmers, workers, warriors, writers, yogis, rhetoricians, musicians or models. By examining their training plans and peak performances, this book offers a panorama of exercises that are necessary to be, and remain, a human being.
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