1,720,959 research outputs found
Cultural Conversations: Dr. Volha Isakava
No full textVolha Isakava has been working at CWU and living in Ellensburg since 2014. A native of Crimea, Ukraine, Volha grew up in Minsk, Belarus. She embarked on her first international adventure when she became an exchange student in High School and spent a year in Minneapolis. Volha went on to live in Saint Petersburg, Russia, and then, Edmonton, Canada, where she moved for graduate school. She considers herself a Belarusian Canadian and a citizen of the world.
The Cultural Conversations program provides a community forum for meeting new friends and learning about global cultures. Co-sponsored by CWU Libraries, Ellensburg Public Library, and the CWU Office of International Studies and Programs.https://digitalcommons.cwu.edu/libraryevents/1244/thumbnail.jp
Cinema of Crisis: Russian Chernukha Cinema, Its Cultural Context and Cross-Cultural Connections
No full textThe present work explores Russian cinema of perestroika, specifically the bleak trend known as chernukha. The project offers a comparative analysis of chernukha and film noir, looking into how these cinemas of crisis channel social anxieties in times of transition. It illuminates the significance of chernukha art for understanding the traumatic history of the perestroika and early post-Soviet years, its ties to Russian and international cultural context as well as the function of chernukha’s dark vision in Russian culture. The thesis traces the roots of chernukha cinema to the Russian 19th century natural school, and compares the cinematic trend with the neo-naturalist fiction of the perestroika era and the postmodernist prose of the time. The thesis argues that chernukha cinema relates directly to both representations of history and questions of ethics. Chernukha’s transgressive visceral visual style and pessimistic narratives function as an unmediated traumatic re-enactment of the collapse of the Soviet way of life, offering a nihilistic deconstruction of previous dominant narratives and articulating an ethical breech in cultural expectations and representations. Using the concept of film world I argue that, similar to film noir and neo noir, chernukha presents a film world that is a distinct universe, to which there seems to be no alternative or any counteractive sense of normalcy. To present a systemic study of chernukha cinema in addition to history, cultural context, visual style and narrative strategies, the thesis also examines the patterns of characterization in chernukha cinema and the representations of body, sexuality and gender
Страшное смешное телевидение: «Звоните ДиКаприо!» в глобальном и локальном контексте
No full textThe paper examines the critically acclaimed 2018 limited series Call DiCaprio! directed by Zhora Kryzhovnikov from two main perspectives: (1) how the series engages with contemporary Russian culture and the television industry in particular; and (2) how the series reflects current transnational trends in television, often dubbed as the new Golden Age of television. On the one hand, Call DiCaprio! fits the model of “complex TV” (Mittel 2006), joining the new global television aesthetics that emerged in the 2000s. On the other hand, Call DiCaprio! is also steeped in the contemporary Russian context of media production and consumption. It provides an unflattering look into the underbelly of the industry and crafts a very particular meta-referential cultural experience for its viewer through mise en abyme aesthetics and a complex network of references to classical Russian literature.Статья анализирует сериал Жоры Крыжовникова Звоните ДиКаприо!, получивший благосклонные отзывы критиков и выпущенный в 2018- ом году. Популярный у зрителей сериал рассматривается с двух основных позиций: (1) в аспекте отражения актуального российского культурного контекста, и особен- но телевизионной культуры; (2) в аспекте транснациональных тен- денциий современного глобального телевидения, вступившего в так называемый «золотой век» в начале 2000-х. С одной стороны, Звоните ДиКаприо! вписывается в модель «сложного телевидения», пред- ложенную Джейсоном Миттелем в 2006-ом году. С другой стороны, рассматриваемый сериал глубоко укоренен в современный россий- ский культурный и медийный ландшафт. Сериал обнажает темные, неочевидные для непосвященного стороны кино- и теле-индустрии современности, а также погру- жает зрителя в мета-культурный контекст, созданный с помощью эстетических принципов мизана- бима (mis en abyme) и сложной сети аллюзий к классическим текстам русской литературы
Horror genre in national cinemas of East Slavic countries
No full textHORROR GENRE IN NATIONAL CINEMAS OF EAST SLAVIC COUNTRIESThe article looks at the past and the present of horror film in post-Soviet countries: Belarus, Russia and Ukraine. It focuses on the recent 2000–onwards development of horror as a genre of mainstream cinema and what cultural, social and political forces shape its development. The article adapts two venues of exploration: the global or transnational tendencies in horror cinema, namely its reliance on Hollywood genre formulae; and the local perspective, or how the East Slavic horror films position themselves as the site of difference, reflecting their own cultural condition. The article analyzes the post-Soviet horror as a part of newly emerged popular culture, shaped by the globalized cinema market, Hollywood hegemony and local sensibilities of distinct cinematic and pop-culture traditions.HORROR GENRE IN NATIONAL CINEMAS OF EAST SLAVIC COUNTRIESThe article looks at the past and the present of horror film in post-Soviet countries: Belarus, Russia and Ukraine. It focuses on the recent 2000–onwards development of horror as a genre of mainstream cinema and what cultural, social and political forces shape its development. The article adapts two venues of exploration: the global or transnational tendencies in horror cinema, namely its reliance on Hollywood genre formulae; and the local perspective, or how the East Slavic horror films position themselves as the site of difference, reflecting their own cultural condition. The article analyzes the post-Soviet horror as a part of newly emerged popular culture, shaped by the globalized cinema market, Hollywood hegemony and local sensibilities of distinct cinematic and pop-culture traditions
Du kitsch au carnavalesque : les films populaires dans la Russie d’aujourd’hui
No full textCet essai porte sur les films de genre populaires, en particulier les comédies et les comédies romantiques grand public, ainsi que sur leur rôle dans le paysage changeant du cinéma russe contemporain. Plusieurs questions y sont abordées, en lien avec les films populaires et leur valeur culturelle, que ce soit la manière dont ces films réinvestissent la culture du pays ou encore le rapport qu’ils entretiennent avec l’écriture de l’Histoire ..
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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