Podcast appearances and mentions of Sergei Parajanov

Filme de Sergei Parajanov em destaque no fecho do ano.

I år är det 100 år sedan den armeniska regissören Sergej Parajanov föddes i den georgiska huvudstaden Tbilisi i dåvarande Sovjetunionen. Det här firas stort runt om i världen inte minst i Armenien och Georgien. P1 Kultur åkte dit. Lyssna på alla avsnitt i Sveriges Radio Play. "I filmens tempel finns ljus, bilder och verklighet – Sergej Parajanov var mästaren i det templet.” Citatet kommer från Jean-Luc Godard och beskriver den armeniska regissören Sergei Parajanov – vars filmer inte sällan hamnar högt upp topplistor som rankar filmhistorien. Parajanovs uttrycksfulla filmer gick på tvären med Sovjetunionens rådande konstideal, och hans liv präglades av långa perioder i fångenskap. Något som gör hans säregna filmer – som sprudlar av färg och liv – unika.Reporter: Jacob Hallerström, frilansProducent: Maria Götselius

Soviet cinema at its most… spiritual?  Iconoclast director Sergei Parajanov's deeply personal exploration of the cultural echoes found in the life of 18th-century Armenian troubadour/monk Sayat-Nova uses manuscript-inspired tableaux vivants, exquisite staging, and a profoundly rich symbolic vocabulary to sneak this one past the censors.  Sort of. Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing David Cronenberg's Scanners (1981).

Content warning: this film contains depictions of suicide. Come check out Mike and Charlie realizing exactly what they've gotten themself into AFTER watching this movie and getting about halfway through our discussion about it.  Yukio Mishima and Domoto Masaki's rich confrontation of Noh-style staging with richly visualized sensuality propels a short film about a married couple's suicided following a failed coup-d'etat in 1936 Japan. Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Sergei Parajanov's The Color of Pomogranates(1969).

In EVN Report's news roundup for the week of August 23: Russian Foreign Minister Sergey Lavrov accuses Armenia of “sabotaging” the unblocking of regional communications through Armenia's Syunik region; on the eve of Ukraine's Independence Day, President Zelenskyy posthumously awards Armenian film director Sergei Parajanov with the “National Legend of Ukraine” honor; a new legislation says taxi drivers have to issue receipts; there are 58 confirmed cases of the West Nile fever in Armenia.

In EVN Report's news roundup for the week of August 23: Russian Foreign Minister Sergey Lavrov accuses Armenia of “sabotaging” the unblocking of regional communications through Armenia's Syunik region; on the eve of Ukraine's Independence Day, President Zelenskyy posthumously awards Armenian film director Sergei Parajanov with the “National Legend of Ukraine” honor; a new legislation says taxi drivers have to issue receipts; there are 58 confirmed cases of the West Nile fever in Armenia. The post Ep. 298: The Week in Review (23.08.24) appeared first on EVN Report.

Հարցազրոյց արուեստի և ֆիլմերու պատմաբան Վիգեն Գալստեանի հետ: Խօսակցութեան գլխաւոր նիւթն է Սերկեյ Փարաջանովը և իր գլուխ գործոց «Նռան Գոյնը» ֆիլմը, որ ցոյց պիտի տրուի Աւստրալիոյ Հայկական Ֆիլմերու Փառատօնի ժամանակ: “The Colour of Pomegranates”: A masterpiece with international significance. The 2024 Armenian Film Festival Australia will celebrate Sergei Parajanov's 100th anniversary. In this interview in Armenian, art and film historian Vigen Galstyan, talks about the renowned film director and screenwriter Sergei Parajanov.

https://notesonfilm1.com/2024/07/31/cinema-rediscovered-2024-wrap-up/ We have nothing but praise for this year's edition of Cinema Rediscovered. In the podcast, we discuss the pleasures of seeing Gilda (Charles Vidor, 1946) and Le Samurai (Jean-Pierre Melville, 1967) in beautiful prints on the opening night; the pleasure in seeing restorations with an audience where every time someone responds differently it raises a question one might not have thought of before; thus, a pleasure that begins in the realm of the aesthetic and moves on and combines with the the real of dreams and thoughts. We talk about the two Edward Yang films screened,  A Confucian Confusion (1994) and Mahjong (1996) and praise Ian Wang for doing such a terrific job of introducing the films: interesting, entertaining, succinct and opening up ways of entering the film, a challenge in the age of Wikipedia. We discuss the Ninon Sevilla cabaretera films, possibly the hit of the festival. There was a fantastic programme of 'New' Hollywood films -- Out of Their Depth: Corruption Scandal and Lies in the New Hollywood -- and we discuss the only two films in the programme that we did manage to see:  Night Moves (Arthur Penn, 1975) and The Long Goodbye (Robert Altman, 1973). We hope to catch up with the rest when it tours. The festival offers a great balance tween the more esoteric strands and those appealing to a larger audience. It was wonderful to see The Wizard of Oz (1939) with an audience full of children, some of them dressed up as Dorothy. We also touch on the eff Barnaby and  Bill Douglas cycles as well as  the Sergei Parajanov restorations and other strands of the festival. We will be doing a separate podcast on the Queer Cinema from the Eastern Bloc programme. There were several revelations in this festival that we discuss in the podcast: The Student Nurses (Stephanie Rothman, 1970) the only woman to direct a film in Hollywood between Ida Lupino and Elaine May; Charles Burnett's The Annihilation of Fish (1999); Ehsahn Khoshbakht's beautiful and very personal Cellulloid Underground; and Giuseppe Patroni Griffi's Il Mare (1962), which David Melville Wingrove in his introduction argued had been a formative influence on Jarman as well as Bill Douglas and, we later learned on Tony Richardson as well as Pedro Almodóvar. Quite a queer package. Lastly, we praise how the festival makes use of the city, the different venues, It's part of a concerted effort to bring the city into the festival and the festival into the city. The festival seems an incubator for curators, some curating a single film, some a strand. A very entertaining event, and no one used their phones during the screening. Big Gold Star. The community feel, the social engagement, the educational component of talks and workshops, a teaching people how to do things, all meshed together to form a very impressive festival. Many congratulations to all. Some of the strands will be touring.

https://notesonfilm1.com/2024/07/15/jose-arroyo-in-conversation-with-daniel-bird-on-sergei-parajanov/ We ask who is Parajanov and why Parajanov? We touch in the centrality of his work to the national and cultural identities of so many countries: Ukraine, Georgia, Armenia, Russia; its aesthetic beauty and its continuing power. Certain filmmakers continuously crop up in relation to Parajanov's work -- Eisenstein, Jarman, Greenaway, Pasolini, Kenneth Anger, Powell and Pressburger. The conversation is bounded by the war in Ukraine; post-colonial relations; the excitement of cinema poetry, the need to archive, preserve, restore and circulate; questions of anarchy in totalitarian context; and a fluid line of different degrees of queerness that runs across Parajanov's oeuvre. Beautifully restored versions of SHADOWS OF FORGOTTEN ANCESTORS and THE COLOUR OF POMEGRANATES will be screened at Cinema Rediscovered, Watershed, Bristol on July 28th.

A riqueza da arte cinematográfica levada a seu extremo por meio da criatividade e inteligência de Parajanov. Ao aliar referências à cultura transcaucasiana, que atravessa países como Armênia, Geórgia e Azerbaijão, o cineasta proporciona a abertura para uma nova percepção, que desafia o espectador ao mesmo tempo que o maravilha. A viagem pelas cenas que contam a história do poeta Sayat Nova é instigante e difícil de empreender, mas a partir do momento em que selamos o cavalo e nos deixamos levar, o prazer é como poucos. Para debater o filme, Hugo recebeu a cineasta Livia Duclerc e a igualmente cineasta – e fundadora do podcast Plano Sequência – Marina Oliveira. ------------------------------------------------- Entre em contato com o Cinefilia & Companhia, e deixe seus comentários, elogios e opiniões sobre os filmes tratados. E-mail: cinefilia.companhia@gmail.com Instagram: @cinefiliaecompanhia YouTube: https://www.youtube.com/channel/UCN5rLEZLWrqNclWE1KshDVg ------------------------------------------------- Mediação: Hugo Harris Participantes: Livia Duclerc e Marina Oliveira Edição do episódio: Henrique Pires Artes gráficas: Joe Borges Trilha de abertura: JF Borges Coordenação de Edição e Artes: Henrique Pires Coordenação Geral: Hugo Harris

Amerikatsi: Michael Goorjian's Odyssey | Ep 307 - Feb 6, 2024Conversations on GroongTopics:Amerikatsi: Motifs, Aspects and Character of the FilmGoorjian's Style, Influences, and InterestsThe Oscar Shortlisting journeyBedros & Asbed Afterthoughts on the ConversationGuest:Michael A. GoorjianHosts:Bedros Afeyan - FB/@bafeyanAsbed Bedrossian - TW/@qubriqEpisode 307 | Recorded: February 5, 2024Subscribe and follow us everywhere you are: linktr.ee/groong

In a follow up to the Ukrainian National Cinema episode, Cinema60 finally addresses the beautiful, surreal and unfairly banned films of Sergei Parajanov and Yuri Ilyenko – two figures that are essential to the story of what was getting made in that region while it was under Soviet control. In the case of Parajanov, his films of the ‘60s are amongst the most striking and influential ever made. In the case of Ilyenko, a lesser known but equally astonishing filmmaker, his unique visual sense of rhythm and movement are a sight to behold. Together, they made Shadows of the Forgotten Ancestors, a film that launched both of their careers towards a path of subversive, politically charged cinema that got them in trouble with Soviet authorities for decades to come.In this episode, Bart & Jenna start with Parjanov's straightforward Soviet Realist films from the early 60s, and then jump into the more radical work of Parajanov and Ilyenko in the later ‘60s. Hopefully our hosts' struggles to make sense out of these challenging films will encourage listeners to be less fearful of the unknown – an entirely rewarding journey for those to attempt it.The following films are discussed:• Ukrainian Rhapsody (1961) Українська рапсодія (Ukrainskaya rapsodiya) Directed by Sergei Parajanov Starring Olga Reus-Petrenko, Eduard Koshman, Yuriy Gulyayev• Flower on the Stone (1962) Цветок на камне (Tsvetok na kamne) Directed by Sergei Parajanov & Anatoly Slesarenko Starring Inna Burduchenko, Lyudmila Cherepanova, Boris Dmokhovsky• Shadows of Forgotten Ancestors (1965) Тіні забутих предків (Tini zabutykh predkiv) Directed by Sergei Parajanov Cinematography by Yuri Ilyenko Starring Ivan Mikolaychuk, Larisa Kadochnikova, Tatyana Bestayeva• A Spring for the Thirsty (1965) Криниця для спраглих (Krynytsya dlya sprahlykh) Directed by Yuri Ilyenko Starring Dmitri Milyutenko, Larisa Kadochnikova, Feodosiya Litvinenko• Kyiv Frescoes (1966) Киевские фрески (Kiyevskiye freski) Directed by Sergei Parajanov Starring Tengiz Archvadze, Vladimir Artman, Alexandr Kotchekov• Hakob Hovnatanyan (1967) Հակոբ Հովնաթանյան Directed by Sergei Parajanov• The Eve of Ivan Kupalo (1968) Вечір на Івана Купала (Vechir na Ivana Kupala) Directed by Yuri Ilyenko Starring Boris Khmelnitskiy, Larisa Kadochnikova, Yefim Fridman• The Color of Pomegranates (1969) Նռան գույնը (Sayat Nova) Directed by Sergei Parajanov Starring Sofiko Chiaureli, Melkon Alekyan, Vilen Galstyan

Roman Koropeckyj, Professor in the Department of Slavic, East European, and Eurasian Languages & Cultures at UCLA, joins moderator Sasha Razor for a discussion of Sergei Parajanov's film Shadows of Forgotten Ancestors, sharing insight into Ukrainian culture and history. Koropeckyj discusses the making of the film and details the complexities of Ukrainian culture and history, including the Hutsul ethnic group around which the film revolves. They contextualize the political volatility during the film's production and broaden discussion to a longer history of Ukrainian oppression, all the way to contemporary struggles. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38876]

Roman Koropeckyj, Professor in the Department of Slavic, East European, and Eurasian Languages & Cultures at UCLA, joins moderator Sasha Razor for a discussion of Sergei Parajanov's film Shadows of Forgotten Ancestors, sharing insight into Ukrainian culture and history. Koropeckyj discusses the making of the film and details the complexities of Ukrainian culture and history, including the Hutsul ethnic group around which the film revolves. They contextualize the political volatility during the film's production and broaden discussion to a longer history of Ukrainian oppression, all the way to contemporary struggles. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38876]

Roman Koropeckyj, Professor in the Department of Slavic, East European, and Eurasian Languages & Cultures at UCLA, joins moderator Sasha Razor for a discussion of Sergei Parajanov's film Shadows of Forgotten Ancestors, sharing insight into Ukrainian culture and history. Koropeckyj discusses the making of the film and details the complexities of Ukrainian culture and history, including the Hutsul ethnic group around which the film revolves. They contextualize the political volatility during the film's production and broaden discussion to a longer history of Ukrainian oppression, all the way to contemporary struggles. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38876]

Roman Koropeckyj, Professor in the Department of Slavic, East European, and Eurasian Languages & Cultures at UCLA, joins moderator Sasha Razor for a discussion of Sergei Parajanov's film Shadows of Forgotten Ancestors, sharing insight into Ukrainian culture and history. Koropeckyj discusses the making of the film and details the complexities of Ukrainian culture and history, including the Hutsul ethnic group around which the film revolves. They contextualize the political volatility during the film's production and broaden discussion to a longer history of Ukrainian oppression, all the way to contemporary struggles. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38876]

Gayane Arushanian is a multidisciplinary artist from Kyiv. She is the founder of the School of Experimental Art in Kyiv and the G-ART STUDIO in Zaporizhzhia.Gayané is not only an outstanding artist, but she also has a Master's in Urban Construction and Design and Economic Cybernetics from the Zaporizhzhia State Engineering Academy.Her mathematical knowledge and her artistic eye and love for colour enable her to create shapes, forms and colour patterns oscillating between harmony and chaos.She says:I have always believed that art was and is the source, the way, and the opportunity to be honest with myself and the world around me. Equilibrium is about finding the balance of the image of the world, the world within. Colour, shapes and composition are the only criteria of harmony for me. There is an ideal state of the world around - Chaos! And all of this is in the indefinite darkness that you and I reveal every day.Gayané was born in Armenia and had to flee her home when the first war between Armenia and Azerbaijan broke out. The Russian invasion of Ukraine on the 24th of February 2022 made a lot of those memories resurface.Today, we want to take a look at Gayané's very personal story of becoming an artist, the Ukrainian art world in a more general way and the challenges it faces because of the war. And a lot more, of course.It is a great pleasure and privilege to have her in the Yellow Van today!SHOW NOTESCyberneticsARC Gallery, ChicagoCity of KhersonCity of UmanFirst Nagorno-Karabakh WarKhmelnytsky UprisingFibonacci SequenceBerlin EnsembleGaia, Greek goddessGayane's InspirationYuryi Khymych (painter)Arkhyp Kuindzhi (painter)Vasyl Symonenko (poet)Myroslav Skoryk (composer)Sergei Parajanov (film director)Gayane OnlineGayane's Online Art Classes:www.airbnb.ru/experiences/1008843Gayane on Instagram:www.instagram.com/gaya_arushanianGayane's Website:www.gayanearushanian.comGayane on LinkedIn:https://www.linkedin.com/in/gayane-arushanian-702409abNew York Group Exhibition "Design On A Dime"MUSICLove In The Face Of Fear, Jim KroftSupport the showYellow Van Stories is a Mind the Bump Production.

Ben Luke talks to Mike Nelson about his influences—from the worlds of literature, film, music and, of course, art—and the cultural experiences that have shaped his life and work. Nelson, born in 1967 in Loughborough in the UK, is one of the most significant British sculptors and installation artists of this century. He has spent the past three decades assembling materials gathered in junkyards, flea markets, online auctions, even street-corner fly tips into often labyrinthine sculptural environments. He creates distinctive spaces that suggest fictional (and often science-fictional) narratives, while alluding to diverse histories, obscure countercultural or political movements and current affairs as well as his own biography. He discusses the early influence of Graham Sutherland and Francis Bacon, his elation at discovering the work of Paul Thek, how fiction—and science-fiction writers like Stanislaw Lem, J.G. Ballard and the Strugatsky brothers—liberated his approach to art making, and the enduring influence of film-makers including Jean-Luc Godard and Sergei Parajanov.Mike Nelson: Extinction Beckons, Hayward Gallery, London, until 7 May. Hosted on Acast. See acast.com/privacy for more information.

Jackie and Greg discuss the crown jewel of Armenian Cinema, THE COLOR OF POMEGRANATES from 1969. Topics of discussion include the parallels between filmmaker Sergei Parajanov's life and the poet Sayat Nova's, the sensual nature of the film and its themes, and the cultural representation of Armenia and Transcaucasia. They are joined by Anahit Mikayelyan, Director of the Sergei Parajanov Museum in Yerevan, Armenia, for a deeper discussion into the life of the filmmaker.#84 on Sight & Sound's "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxSpecial Thanks: Anahit Mikayelyan

With all of the talk of Ukraine happening right now, Cinema60 figured it was a good a time as any to see what films they could find. The films selected for this episode were mainly produced by Dovzhenko Film Studios in Kyiv during the post-Stalinist thaw that resulted in a push to create a uniquely Ukrainian Cinema that could be presented to the rest of the Soviet Union to demonstrate the diversity of cultures that have come together under one glorious united socialist banner. And so, Cinema60 tackles its most obscure batch of movies yet! It's a whole episode on Ukrainian cinema of the 60s that doesn't even include Sergei Parajanov's Shadows of Forgotten Ancestors, the one Ukrainian film of the era that's received significant international recognition. But before you turn that dial… wait! We've got at least four stone cold must-see classics here (which four those are depends on if you ask Jenna or Bart) plus a couple others that provide major insight into the values and traditions of a people that have been on all our minds lately. All six of these films are well-known and beloved by Ukrainians as major cultural touchstones and deserve wider recognition.While Bart and Jenna discuss what it is that makes these films “uniquely Ukrainian,” they mostly focus on the films on their own terms and decide whether they can be appreciated and enjoyed by 21st Century Westerners. The answer is a resounding, “так!”The following films are discussed:• Chasing Two Hares (1961) Za dvoma zaytsiamy Directed by Viktor Ivanov Starring Oleg Borisov, Margarita Krinitsyna, Nikolay Yakovchenko• Song of the Forest (1961) Lisova pisnya Directed by Viktor Ivchenko Starring Raisa Nedashkovskaya, Volodymyr Sydorchuk, Pyotr Vesklyarov• The Enchanted Desna (1964) Zacharovannaya Desna Directed by Yuliya Solntseva Starring Evgeniy Samoylov, Vladimir Goncharov, Evgeniy Bondarenko• The Stone Cross (1968) Kaminnyy khrest Directed by Leonid Osyka Starring Borislav Brondukov, Daniil Ilchenko, Yekaterina Mateyk• Conscience (1968) Sovist Directed by Vladimir Denisenko Starring Anatoliy Sokolovskiy, Viktor Malyarevich, Nikolay Oleynik• Annychka (1969) Directed by Boris Ivchenko Starring Lyubov Rumyantseva, Ivan Mikolaychuk, Grigore Grigoriu

Tonight I'm examining the film “On the Silver Globe.” Where to start? The Polish science fiction film is a stunning, mind-bending and unique work of pure cinema. But its backstory is almost as intriguing as the film itself "On the Silver Globe" began multiple locations in the Soviet bloc in the mid 1970s, with the film crew traveling from Mongolia to the shores of the Baltic Sea and plumbing the depths of a disused salt mine which stood in for an alien underground temple. An adaptation of the landmark Polish science fiction series The Lunar Trilogy by Jerzy Żuławski, the grand uncle of “On the Silver Globe” director Andrzej Żuławski, was funded by the communist Polish government and planned to be a showcase for the possibilities of Polish cinema. However, officials shut down production about 70 percent through the shooting citing budget issues. Years after filming ended, when the sets were destroyed and the costumes had rotted away, Żuławski edited the footage together, filming unrelated street scenes with narration describing the parts of the story that went unfilmed and premiered the film at the 1988 Canne film festival. Since a 2016 restoration, appreciation for the film has grown, illustrated by the recent release of the European behind-the-scenes documentary “Escape to the Silver Globe.” Vice magazine called "On the Silver Globe" the greatest science fiction movie never made. While the final result is not the film Żuławski set out to make, the film is a visually striking and elusive work of art. It's a one of a kind movie that defies not just categorization but description. East European film scholar Daniel Bird joins me to explore "On the Silver Globe," "The Lunar Trilogy" and Zurawski's unique and expressive approach to filmmaking. Daniel Bird is co-founder of the post-production and production company Acid Pictures, through which he has co-produced restorations of Jane Campion's "Peel (https://www.festival-lumiere.org/manifestations/peel-exercice-de-discipline.html)," Stephen Sayadian's "Dr. Caligari (https://fantasiafestival.com/en/film/dr-caligari)" and Peter Weir's "Picnic at Hanging Rock (https://2020.festival-lumiere.org/en/lecture-zen/horror.html)." He directs the Hamo Bek-Nazarov Project (http://hamobeknazarov.com/), through which he has produced Temple of Cinema, an installation featuring outtakes from Sergei Parajanov's "The Colour of Pomegranates," Parajanov Triptych (a programme of restored shorts from Armenia, Ukraine and Georgia), and a restoration of Maria Saakyan's "Mayak." He is also the co-founder of Friends of Walerian Borowczyk, which recently worked with MUBI to distribute a restoration of "Brief von Paris."

Director Pushpendra Singh's latest film, THE SHEPHERDESS AND THE SEVEN SONGS is a stunningly beautiful feminist fable set in the disputed territory of Jammu and Kashmir, a lush mountainous region claimed by both India and Pakistan. Based on a folktale by Rajasthani writer Vidaydan Detha as well as the life and poetry of 14th century Kashmiri mystic Lalleshwari, SHEPHERDESS follows a young bride, Laila (Navjot Randhawa, in a ferocious and unforgettable performance) who marries into a tribe of nomadic Bakarwal herders. Already harassed by local police as a minority, Laila finds herself targeted for her remarkable beauty by local officials. Her implacable and ingenious manipulation of the men who want to possess her, and the patriarchy that wants to crush her, plays out in a series of seven chapters – the Song of Regret, the Song of Playfulness – each tied into the rapturously gorgeous score by Naren Chandavarkar and Benedict Taylor. Like the mystical films of Sergei Parajanov, Singh weaves breathtaking visuals and music into a hypnotic and indelible experience. The film's truly cosmic climax, where Laila attempts to shed the bonds of male desire and infatuation pursuing her, must be seen to be believed. Award winning director and writer Pushpendra Singh joins us for a conversation on the orgin story for The Shepherdess and the Seven Songs, casting Navjot Randhawa in the title role, and beautifully shooting the film in a way that focuses on the context of the story as a way of bringing the content to life. For updates go to: deafcrocodile.com/shepherdess-the-seven-songs

Kitchen Conversations for Ukraine was created to highlight the culture of Ukraine and spread information on how to help the country and its artists.  Episode 2 was curated by contemporary Ukrainian artist and photographer based in Amsterdam: Olga Permiakova - Shadows of Forgotten Ancestors by Sergei Parajanov (film) Alina Pash (singer and rapper) Maria Prymachenko (artist)  Stop-Zemlia by Kateryna Gornostai (film) - Become a Patron of Kitchen Conversations: https://www.patreon.com/kitchenconversations  Make a one time donation: https://www.paypal.com/donate/?hosted_button_id=53QSW2BLPWD4U Follow on Instagram: @patrycja.rozwora

The ongoing horrors of war in Ukraine have raised questions for art communities around the world: How can we meaningfully respond to this crisis? How can we support and defend artists and art in the face of cultural and material destruction? And how can art, and cinema in particular, help us grapple with our collective past and present? To delve into these questions, Film Comment editors Clinton Krute and Devika Girish invited two scholars, Anastasiya Osipova and Lukas Brasiskis, to the podcast. Lukas, a curator at e-flux, recently programmed films by the contemporary Ukrainian artists Piotr Armianovski and Mykola Ridnyi as a fundraiser event. With these two films as a starting point, Osipova and Brasiskis describe the cinema of Ukraine—from the archival documentaries and searing fictions of Sergei Loznitsa, to the work of Sergei Parajanov, Larisa Shepitko, and many more—and its relevance to the current moment. The two also discuss ongoing efforts by the Dovzhenko Film Center to protect the material culture of Ukraine, and much more. For a list of resources, links, and suggestions for donations, visit: https://www.filmcomment.com/blog/the-film-comment-podcast-ukrainian-cinema

A Parada Cultural das Nações, série especial do nosso podcast que, no ritmo das Olimpíadas de Tóquio 2020 que estão por vir – a Cerimônia de Abertura está marcada para o dia 23 de julho de 2021, já que o evento foi adiado no ano passado por conta da pandemia de Covid-19 –, apresenta um desfile de delegações culturais de diversos países. Saem os atletas e entram os filmes, músicas, programas de TV, enfim, tudo que representam o passado e o presente das artes nestas nações. E neste sexto episódio, Albânia, Armênia e Angola passam por aqui. Ouça no lugar que você quiser: SoundCloud | Spotify | Deezer | iTunes | Google Podcasts | Orelo | Feed | Download Parada Cultural das Nações #6 > A partir de 10s Albânia > A partir de 58s - Porta-bandeira: o curta-metragista Erenik Beqiri, pelos trabalhos Bon Appétit (2017) e The Van (2019) - Destaques: os rappers como Azet, Stresi e FINEM e as cantoras pop Enca Haxhia, Elvana Gjata e Anxhela Peristeri, além da artista albanesa-americana Ava Max - Citados: os filmes Tana (1958), de Kristaq Dhamo; Kolonel Bunker (1996), de Kujtim Çashku; Parullat / Slogans (2001), de Gjergj Xhuvani; Open Door (2020), de Florenc Papas; música iso-polifônica albanesa Armênia > A partir de 4min45s - Porta-bandeira: a cantora Sirusho - Destaques: os filmes Should the Wind Drop (2020), de Nora Martirosyan; Limiar (2020), de Rouzbeh Akhbari e Felix Kalmenson - Citados: os filmes A Cor da Romã (1968), de Sergei Parajanov; Lrutyan Simphonia / Symphony of Silence (2001), de Vigen Chaldranyan; e Mayak / The Lighthouse (2006), de Mariya Saakyan; o cantor Aram Mp3 e a banda armênia-americana System of a Down Angola > A partir de 7min53s - Porta-bandeira: o filme Ar Condicionado (2020), de Fradique - Destaques: o filme Santana / Dias Santana (2020/2015), de Maradona Dias Dos Santos e Chris Roland; os cantores Titica, Anselmo Ralph, C4 Pedro, Anna Joyce e Paulo Flores, Big Nelo, Aline Frazão e o duo Tchobari - Citados: os filmes O Caminho de Ferro de Benguela (1913), de Artur Pereira; O Feitiço do Império (1940), de António Lopes Ribeiro; o curta Monangambeee (1968) e o longa Sambizanga (1972), de Sarah Maldoror; os cineastas Ruy Duarte Carvalho e Maria João Ganga; os longas O Herói (2004) e O Grande Kilapy (2011), de Zézé Gamboa; a telenovela Windeck: Todos os Tons de Angola (2012-13); os cantores Tony Amado, Waldemar Bastos e Bonga Encerramento > A partir de 12min39s Confira a transcrição completa deste podcast no site: https://www.nervos.com.br/post/paradaculturaldasnacoes6-albania-armenia-angola *Músicas presentes no podcast: “Brazilian Fantasy (Standard Version)”, de Alexandre de Faria; “Hino da Albânia”, de Aleksander Stavre Drenova e Ciprian Porumbescu; “Karma”, de Anxhela Peristeri; “Hino da Armênia”, de Mikael Nalbandian e Barsegh Kanachyan; “Zartonk”, de Sirusho; “Hino de Angola”, de Manuel Rui Monteiro e Rui Mingas; e “Vais me Perder”, de Anselmo Ralph

THE COLOR OF POMEGRANATES - SEXUAL FRUSTRATION IS COMING OUT OF THEIR MOUTHS! In an abandoned underground city at the Spanish coast, near Malaga, I found a USB stick containing 300 random movies from arthouse to weird, from obscure to notorious. Now, in Lockdown, it is time to watch and discuss them all in an international podcast project. Two Turks and a German, two filmmakers and a mystery man - Welcome to Mysterium Pictorum! In our first episode, we tackle The Color Of Pomegranates by Sergei Parajanov. In this context, we discuss Soviet Cinema, Armenian culture, arthouse films, drugs to take while watching weird movies (some say ketamine, some say mushrooms - it's controversial), the poet Sayat Nova, the internet scam that is Uniplaces, monks, pomegranates, orgies with nuns and many more delightful topics! Listen, review & subscribe, if you like! We love you!

In this collaboration with Curious Arts, we meet Gobscure. Gobscure are a Bisexual and Disabled artist working with poetry, sound art and visuals.  In this chat we learn about Sergei Parajanov, Mary Wollstonecraft and imagine Jacob Rees-Mogg in a petticoat. Gobscure shares their understanding of oppression, their creative ways of rebelling against authority and even performs 'Rose Carved in Rain'. This conversation is a poignant blend of authenticity and exhaustion.  It cracked open my heart and mind. I hope it will do the same for you.

podcast episode link Rob and Matt force each other to suffer through Sergei Parajanov’s avant-garde biopic The Color of Pomegranates and the historical Martin Lawrence vehicle Black Knight.

podcast episode link Rob and Matt force each other to suffer through Sergei Parajanov’s avant-garde biopic The Color of Pomegranates and the historical Martin Lawrence vehicle Black Knight.

A transitional Jennifer Jones episode: from another summary of the Jones persona, King Vidor's RUBY GENTRY (1952), to a new era of filmmaking and a new kind of role in De Sica's TERMINAL STATION (1953). We give our verdict on the director's cut of the latter, the first time either of us has seen it. And in Moviegoing, Elise holds forth on PSYCHO and the Art of Hitchcock, and we briefly discuss Parajanov's THE COLOR OF POMEGRANATES and what's not funny about Lubitsch's THE SHOP AROUND THE CORNER.   Time Codes: 0h 01m 00s:          Ruby Gentry (1952; dir. King Vidor) 1h 29m 50s:          Stazione Termini (1953; dir. Vittorio De Sica) 1h 01m 00s:         Winter Cinemagoing: Gone to Earth (1950) at The Royal; Psycho (1960; dir: Alfred Hitchcock), The Color of Pomegranates (1969; dir: Sergei Parajanov) and The Shop Around the Corner (1940; dir: Ernst Lubitsch)   +++ * Check out our Complete Upcoming Episode Schedule * Find Elise’s latest published film piece – “Elaine May’s Male Gaze” – in the Elaine May issue of Bright Wall/Dark Room* *And Read Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com Theme Music: “What’s Yr Take on Cassavetes?” – Le Tigre

اپیزود دو - روایت؛ بخش دوم Sponsored by "Free Culture Invisible" با این که روایت و روایت‌شناسی ریشه در ادبیات داره اما امروزه میشه کاربرد روایت‌شناسی را در شاخه‌های مختلف علمی و هنری دید. سینما اما از ابتدا با مسئله روایت و داستان‌گویی عجین بوده به طوری که درک و شناخت سینما بدون شناخت و تحلیل روایت غیرممکن به نظر می‌رسه. در دومین اپیزود از پادکست سینماسلف پلاس، به بررسی سایر عناصر روایی پرداختیم. ساختار روایت رو توضیح دادیم، زمان رو در درون این ساختار کاوش کردیم و نمونه های مناسب و شناخته شده رو در مورد اونها ارائه دادیم. با ما همراه باشین. . فیلم های اشاره شده در اپیزود دوم پادکست سینماسلف پلاس: 1- There Will Be Blood (2007) - Paul Thomas Anderson 2- Marriage Story (2019) - Noah Baumbach 3- Seven Samurai (1954) - Akira Kurosawa 4- Grizzly Man (2005) - Werner Herzog 5- 127 Hours (2010) - Danny Boyle 6- The Salesman (2016) - Asghar Farhadi 7- Milk (2008) - Gus Van Sant 8- The Hours (2002) - Stephen Daldry 9- Cure (1997) - Kiyoshi Kurosawa 10- A Separation (2011) - Asghar Farhadi 11- The Phantom Carriage (1921) - Victor Sjöström 12- Harakiri (1962) - Masaki Kobayashi 13- The Lord of the Rings: The Fellowship of the Ring (2001) - Peter Jackson 14- Full Metal Jacket (1987) - Stanley Kubrick 15- Lord of War (2005) - Andrew Niccol 16- Still Life (1974) - Sohrab Shahid-Saless 17- Once Upon a Time in Anatolia (2011) - Nuri Bilge Ceylan 18- Fish & Cat (2013) - Shahram Mokri 19- Tristana (1970) - Luis Buñuel 20- Catch-22 (1970) - Mike Nichols 21- The Godfather (1972) - Francis Ford Coppola 22- Pulp Fiction (1994) - Quentin Tarantino 23- Crash (2004) - Paul Haggis 24- Triangle (2009) - Christopher Smith 25- Coherence (2013) - James Ward Byrkit 26- Being John Malkovich (1999) - Spike Jonze 27- Synecdoche, New York (2008) - Charlie Kaufman 28- Lost Highway (1997) - David Lynch 29- 3 Women (1977) - Robert Altman 30- Close-Up (1990) - Abbas Kiarostami 31- The Color of Pomegranates (1969) - Sergei Parajanov

Across the world and throughout myths, legends and religious texts pomegranates have been symbolic of wealth, fertility and good luck. The pomegranate has been a popular feature and motif in artworks, literature, ceremonies and culinary offerings from all over the world. A modern day superfood yes…but people throughout time and place have known of its health benefits. From stories of Agdistis, Persephone, Roman Britain and Catherine of Aragon. With artworks from Giovanna Garzoni, Clara Peeters, Sandro Boticelli, Dante Gabriel Rosetti, Zaida Ben Yusuf, Sergei Parajanov and Katayoun Amjadi.

Adapting Mykhailo Kotsiubynsky’s 1911 novel, Sergei Parajanov created a masterpiece unrivalled even to this day. Like the novel, he was inspired by the traditional culture and folklore of the Hutsul people of the Carpathian Mountains, infusing it with symbolic and impressionistic colour, sound and fury. His determination to tell the story this way – eschewing the socialist realism mandated by the communist government – landed him in a Soviet gulag, branded a dissident. Despite this, as Roger Ebert noted in his 1978 review, the film won “almost every award in sight on the 1964 film festival circuit” (and even inspired Carl Sagan, whose book with Ann Druyan is named after the film). Yuri Ilyenko’s bombastic cinematography underscores the film’s allegorical, surreal and technically experimental flourishes, all in service of Parajanov’s aim to challenge the audience’s understanding of screen-based storytelling...http://miff.com.au/program/film/shadows-of-our-forgotten-ancestors - Український кінофільм-шедевр можна подивитися в Австралії у рік 55-ліття його виходу у світ завдяки славному С. Параджанову... Не упускайте нагоду побачити "Тіні забутих предків", що приємно сколихнули світ мистецтвом і неповторністю. І здригнули комуністичний режим союзу совєцького...http://miff.com.au/program/film/shadows-of-our-forgotten-ancestors

In this episode, a Talking at Random segment, the friends discuss some of the films they have seen recently. Among others, the friends discuss House (1977), by Nobuhiko Obayashi; Nekromantik (1987), Der Todesking (1990), and Schramm* (1993), by Jörg Buttgereit; On Golden Pond (1981); The Color of Pomegranates (1969), by Sergei Parajanov; The Mission: Impossible** series; Top Gun (1986); and Doctor Strangelove (1964), by Stanley Kubrick. Film lovers are sure to be entertained! This episode contains some spoilers. (Notes: *The friends muddle some of the plot details of this film, but it is indeed about a serial killer in love with his prostitute neighbor. **William discusses Mission: Impossible 3 at several points, though he means to refer to Mission: Impossible -- Ghost Protocol.)

Goffredo Fofi racconta "Le ombre degli avi dimenticati" (Tezi zabytych predkov), la pellicola con cui il regista ucraino Sergei Parajanov si è fatto conoscere al resto del mondo a causa della censura sovietica che ha colpito l'opera ...

Episode 2 - The Color of Pomegranates In this episode, Robert and Christophe discuss Sergei Parajanov's dreamlike exploration of an Armenian poet's life in The Color of Pomegranates. They also take a look at trailers for several new upcoming films and series, like Claire Denis' High Life.

We're looking at Sergei Parajanov's The Color of Pomegranates. Released in 1969, the film is something of a look at the life of Armenian ashugh Sayat Nova told in a very oblique and beautiful way.Director and DP Larry Revene joins Mike to talk about this poetic film. Daniel Bird, director of The World is a Window: The Making of The Color of Pomegranates and James Steffen, the author of The Cinema of Sergei Parajanov, discuss the making of the film as well as the cuts imposed by Russian censors.Learn more about your ad choices. Visit megaphone.fm/adchoices

Special Guests: Daniel Bird, James SteffenGuest Co-Host: Larry ReveneWe're looking at Sergei Parajanov’s The Color of Pomegranates. Released in 1969, the film is something of a look at the life of Armenian ashugh Sayat Nova told in a very oblique and beautiful way.Director and DP Larry Revene joins Mike to talk about this poetic film. Daniel Bird, director of The World is a Window: The Making of The Color of Pomegranates and James Steffen, the author of The Cinema of Sergei Parajanov, discuss the making of the film as well as the cuts imposed by Russian censors.

El cineasta armenio Sergei Parajanov encontró su voz a través de otra voz, aquella con que Andrei Tarkovsky dio vida a La infancia de Iván (1962). A partir de ahí, Parajanov fue un cineasta de culturas nacionales (en un momento en que el concepto podía ser problemático), de historias contadas a través de objetos y posturas, y de una intensidad vital que canalizó de diversas maneras en los cuatro largometrajes que realizó entre 1965 y 1990. Acá abordamos los dos primeros, quedando los restantes como promesa para el futuro.

downloadon iTunesThis one went off th rails pretty early on w/r/t its intended topic and never got back on, fully.  Billy Ray's original intention, I think, was to set up th parameters of what it means to be th Greatest Of All Time, and den debate various G.O.A.T. candidates over various fields of endeavour.  Instead we ended up talking bout Livejournal again 80% of th time, general Internet ethics (10%), Stevie Wonder (5%), and gay filmmakers (5%).  Idlewild, Ryan Jackson, Abbas Kiarostami, bell hooks, James Booker, Los Bros Hernandez, Alison Bechdel, Akira Kurosawa, Sergei Parajanov, Persepolis, and Charlie bit me are namedropped in passing.  We are joined this week by Rena J of el jay fame, who was gracious enough to join us on v. short notice and ended up being our first ⚡solo⚡ guest in many moons after our other guest passed out drunk Listen close for th G.E.O.A.T. (greatest ending of all time)Table of contents:00:00:00  "Sir Duke" performed by Stevie Wonder00:03:52  Nominal attempt to stick to a topic | blah dee blah dee blahHH | etc etc etc01:59:38  Bonus Track: a great way to start a mixtape or end a podcast

"Atmaca ve Testere" New Mexicolu iki müzisyenin yolu Macaristan'da kesişirse ne olur? Heather Trost ve Jeremy Barnes'dan mürekkep "A Hawk and a Hacksaw"ı Gürcistanlı Sovyet yönetmen Sergei Parajanov'un 1964 yapımı kült filmi "Unutulmuş Ataların Gölgeleri"ne canlı olarak müzik yapacakları konser için İstanbul'a gelmişken stüdyoya davet ettik. New Mexico'dan Balkan coğrafyasına neden uzandıklarını ve kültürlerin müzikal olarak kaynaşmasının önemini konuştuk.