Grand Piano-the Audiovisual Hero of the Soviet Cinema Screen

10.34690/189 ◽  
2021 ◽  
pp. 198-210
Author(s):  
Ольга Яковлевна Каталикова
Keyword(s):  
Film Music ◽  
Film Adaptations ◽  
Soviet Film ◽  
Special Cases ◽  
Soviet Cinema ◽  
Russian Literary ◽  
The Many ◽  
Literary Classics ◽  
Grand Piano ◽  
New Babylon

Статья посвящена особым случаям использования фортепиано в советской киномузыке: не только в составе партитуры, но и как непосредственного «участника» экранного действия. Обычно это происходит в фильмах революционной и исторической тематики, а также в экранизациях русской классики. Среди множества картин, где рояль появляется на экране, нужно выделить ряд шедевров, в которых введение его отмечено уникальными решениями. В статье рассмотрены примеры из фильмов «Новый Вавилон» (музыка Д. Шостаковича), «Строгий юноша» (музыка Г. Попова), «Веселые ребята» (музыка И. Дунаевского). The article is devoted to special cases of the use of the piano in Soviet film music: not only as part of the score, but also as a direct “participant” of the screen action. This usually happens in films with revolutionary and historical themes, as well as in film adaptations of Russian literary classics in scenes of home music. However, among the many films where the instrument appears on the screen, it is necessary to note a number of absolute masterpieces in which the use of the piano is marked by unique solutions. The article considers examples of this kind from the films “New Babylon” (music by D. Shostakovich) “A Strict Young Man” (music by G. Popov), “Funny Guys” (music by I. Dunaevsky).

Computing Cores for Existential Rules with the Standard Chase and ASP

2020 ◽  
Author(s):  
Markus Krötzsch
Keyword(s):  
Large Class ◽  
Data Exchange ◽  
Answer Set Programming ◽  
Query Answering ◽  
Universal Model ◽  
The Core ◽  
Universal Models ◽  
General Terms ◽  
Special Cases ◽  
The Many

To reason with existential rules (a.k.a. tuple-generating dependencies), one often computes universal models. Among the many such models of different structure and cardinality, the core is arguably the “best”. Especially for finitely satisfiable theories, where the core is the unique smallest universal model, it has advantages in query answering, non-monotonic reasoning, and data exchange. Unfortunately, computing cores is difficult and not supported by most reasoners. We therefore propose ways of computing cores using practically implemented methods from rule reasoning and answer set programming. Our focus is on cases where the standard chase algorithm produces a core. We characterise this desirable situation in general terms that apply to a large class of cores, derive concrete approaches for decidable special cases, and generalise these approaches to non-monotonic extensions of existential rules.

Re-Visioning the Past: Russian Literary Classics in Film

2011 ◽  
Vol 85 (6) ◽  
pp. 55-58
Author(s):  
Catharine Theimer Nepomnyashchy
Keyword(s):  
The Past ◽  
Russian Literary ◽  
Literary Classics

Screening the Word: Russian and Soviet Film Adaptations of Literature, 1900-2001

2007 ◽  
Vol 102 (1) ◽  
pp. 306
Author(s):  
Christine Engel ◽  
Stephen Hutchings ◽  
Anat Vernitski
Keyword(s):  
Film Adaptations ◽  
Soviet Film

Methodological aspects of studying the history of Soviet cinema in the 1930s

2019 ◽  
Vol 11 (3) ◽  
pp. 17-28
Author(s):  
Sultan I. Usuvaliev
Keyword(s):  
Film Studies ◽  
Early Stage ◽  
Film History ◽  
Soviet History ◽  
Soviet Film ◽  
Soviet Cinema ◽  
History Of ◽  
Russian Film ◽  
Russian Cinema ◽  
Methodological Aspects

The article is devoted to the history of the Russian film studies and methodology of film history as science using the example of the Introduction of History of the Soviet Film Art by Nikolai Iezuitov (18991941), one of the founders of the national film studies. Since the manuscript of History of the Soviet Film Art the first history of the Soviet cinema has not yet been published and introduced into scholarly use, the author pays special attention to archival sources. Despite a number of essays and discussions about film history and its methodology, a fundamental scholarly work on the historiography of the history of Soviet and Russian cinema has not yet been written. The relevance and novelty of the article is that it is based on the study of archival manuscripts of Nikolai Iezuitov. The exploration of early approaches to the study of the history of the Soviet cinema is important both historically and pedagogically. One of the most important sources of the concept of film history at an early stage of the national film studies is Iezuitov's Introduction to History of the Soviet Film Art. The Introduction is valuable because: 1) it is a rare evidence of reflection on the foundations of film history as scholarship and its methodology; 2) it is given by the author of the first history of the Soviet cinema; 3) it is represented by the author not as a separate abstract essay but as a part of the history itself. The Introduction defines the scholarly tasks and content of film history; overviews foreign books on the history of cinema; emphasizes specific periods of Soviet film history; and indicates the principles of work with relevant sources. Iezuitovs main principles in relation to film history are established in connection, firstly, with Soviet history scholarship; and secondly, with the vision of film history as the history of film art. Thus, film history, according to Iezuitov, is the unity of Marxist understanding of history and art-historical (stylistic) analysis of films and the main film movements in Soviet cinema.

Technical base of soviet cinema in the period of “stagnation”

Servis plus ◽  
2016 ◽  
Vol 10 (1) ◽  
pp. 70-80
Author(s):  
Марина Косинова ◽  
Marina Kosinova
Keyword(s):  
Soviet Union ◽  
Carrier Transport ◽  
Film Industry ◽  
Defense Industry ◽  
Technical Equipment ◽  
Difficult Situation ◽  
Soviet Film ◽  
Technical Base ◽  
The Soviet Union ◽  
Soviet Cinema

The article is devoted to such technical aspects of Soviet cinema as cinema spreading, film, movie taking and film equipment. We consider the activities of NIKFI [National Research film and photo institute] in the 1970s. One of the major problems in cinema spreading is a deep-rooted lag of the cinema network from the audience needs. There was not only few cinemas, but also there was less technical equipment which often left much to be desired. In addition, large one-hall cinemas, which always prevailed in the USSR, significantly narrowed the choice of repertoire. In the late 1970’s – early 1980’s in the Soviet Union there was dramatically reduced cinema building, while the number of urban residents continued to grow. Status of rural cinema network also left much to be desired: it was often increased at the expense of the reorganization of rooms poorly adapted for this purpose into cinemas. The technical base of the Soviet film industry has always been its Achilles heel. In our country, there was always a certain gap between the level of scientific research and their practical realization. The reason is that all the forces were at the defense industry. A huge number of people (even in “peaceful” factories there were often secret workshops) employs on the “defense industry”. So in many fields we had advanced science (because the “defense industry” science always moves forward) and backward production. The perversity of this approach negatively affected the efficiency of NIKFI. Laboratories operating according to the plans approved by Institute of State cinema were busy with works which were not directly related to the cinematography; as the result, every year the Soviet Cinema equipment remained more and more behind the world standards, equipment dilapidated and were gradually replaced by foreign novelties. Especially serious lag observed in a number of areas cinema techniques: in the projection, the developing and copying equipment, new types of imaging optics, carrier transport. The most difficult situation was in the production and development of new varieties of film. In the late 1970s and early 1980s the problem of the quality laid on the problem of the quantity. Soviet film industry began to have trouble with positive film, which resulted in a forced reduction in circulation of new films.

Soviet film distribution and demonstration in the era of “thaw”. The revival of the film industry.

Servis plus ◽  
2015 ◽  
Vol 9 (4) ◽  
pp. 17-26
Author(s):  
Марина Косинова ◽  
Marina Kosinova ◽  
Артур Аракелян ◽  
Artur Arakelyan
Keyword(s):  
Rural Areas ◽  
Film Industry ◽  
Operation Mode ◽  
Color Film ◽  
Qualitative And Quantitative ◽  
Artistic Value ◽  
Soviet Film ◽  
Film Distribution ◽  
Soviet Cinema

In the period of “thaw” (mid 1950s – mid 1960s), there is a sharp qualitative and quantitative growth of Soviet cinema. If in 1951 in the USSR was filmed just nine films which didn’t represent a high artistic value in the creative attitude, already in 1956–57, Soviet cinema shocked the whole world. In 1958 they released 66 new Soviet film, but by 1960 our film industry overcame the milestone of 100 films and continued to steadily increase the production. The growth of the film industry contributed to the cinema spreading and film distribution. In the years of “thaw” in the USSR cinema attendance exceeded 3 billion, compared to 1.5 billion in 1953. The Gross fundraising from screenings at state cinema chains increased to 5.5 million rubles in 1957, and throughout the hole cinema chain – up to 7.5 million rubles. On the 1st January 1958, the chain consisted of 80 thousand cinemas, including more than 50 thousand in rural areas. By this time, they had mastered new technical possibilities of cinema (wide-screen, panoramic, wide angle, circular panorama). They fully mastered color film. However, in the field of cinema there were still a lot of unresolved issues. Revenues from films increased annually in largely through the construction and commissioning of new cinemas, and due to the tightening operation mode of already active cinemas, contrary to their real capabilities. But cinema rigidly centralized administrative-command system which had been formed in the 1930s continued to operate until the perestroika in the Soviet. They sold films to the distributors as a “product” based on the amount of the estimated cost of the film. The Studio was lcompletely disinterested in the outcome of the promotion of the film, its success with the audience. Thus, they did not have a major driver in the fight for the quality of films. Numerous attempts of the Filmmakers ‘ Union, established in 1957, to change the existing system didn’t have the results. The only application of far-reaching ideas of the Union became an Experimental creative Studio.

scholarly journals Can translocation help wild primates?

Oryx ◽  
1983 ◽  
Vol 17 (3) ◽  
pp. 135-139 ◽  
Author(s):  
Julian Caldecott ◽  
Michael Kavanagh
Keyword(s):  
Special Cases ◽  
The Many

Releasing animals into the wild, especially when they have become extinct there, is an appealing and dramatic conservation technique. It is, however, fraught with risks and often expensive; its success depends upon meticulous planning. The authors discuss the reasons for translocation, the many problems involved and the special cases where such an exercise may be justified.

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