i am film historian stanislav didinsky, and today we are talking about why james cameron's films are not just blackbusters, but are, in fact, modern ancient tragedies or films shot based on laws of ancient tragedies. this is very important, the thing is that cameron, as a director, creating a world, any world, science fiction, real, recreating, recreating the world of the titanic, and... absolutely fantasy-fairytale, like with avatar, he makes this world habitable, he makes it practically real, there was what is called the titanic's twin ship, with the same setting with the same notorious dishes, all this was taken, not even modeled, it was copied. cameron was not filming a fairy tale, this is important, he, yes, he filmed a love story embedded in a tragedy, and moreover, where did this crazy success come from, incredible, which is still very difficult to somehow cover, precisely because the viewer needs this high, like this, even if the viewer himself does not realize it, a high sense of tragedy, a high sense of catharsis, this kind of change in himself, in the viewer, which transfo

i am a film historian stanislav didinsky. and today we are talking about why james cameron's films are not just blockbusters, but are, in fact, modern ancient tragedies, or or films shot according to the laws of ancient tragedies. this is a very important thing. in that cameron, as a director, creating a world, any world, science fiction, real, recreating, recreating the world of the titanic, and absolutely fantasy-fairytale, like with avatar, he inhabits this world, he makes it practically real, there was what is called the twin ship of the titanic, with the same setting with the same notorious dishes. as if it would perish, and nevertheless it draws us in with incredible force persuasiveness, this is cameron, he kind of takes us into this world of his own, and we don't want to leave, which is especially amazing, regarding titanic and james cameron's films in general, when you first watched titanic yourself, what feelings did you have, as a cultural scientist, how did you fit this film, into what context? i can say that in a

the podcast of witnesses from einstein, where we, historians. cinema natalia ryabchikova and stanislav didinskyfilms. today our program is dedicated to the film, which is known under two names: zastava ilyicha and i am 20 years old. it was shot by marlen khutsiev. why does this film have two names, how did it happen that it was filmed for about 5 years, and there are two versions of this film, we will talk about it today. so, what was. before the film ilica outposts, we need to start with this, who is marlen khutsiev? well, i would say that there were two authors who worked in tandem, these are marlen khutsiev and felix mironer, they had one coat for two, because poverty was such among students that they, as their friends recalled, went to vgik to study one by one, it was in the late forties, actually post-war moscow, here are two students who live in one room. in general, they have only one coat for two, so they go to the lecture in shifts because of the cold weather, but it is precisely this friendship that is established in those years that becomes the basis of their working relationship, fi

podcast of witnesses from einstein and its hosts are film historians, natalia ryabshchikova and stanislav didinsky. we talk about how to watch your favorite, half-forgotten, unknown soviet films now, how to find new meanings in them and how to get even more pleasure, no matter how old you are, you... probably know the incredible tatyana peltser and we talk about why we know peltser only in age roles, how it happened that the great actress became great already in the second half of her life, well, actually, not just in age roles, in supporting and third-plan roles, that is , in general, a great actress who never played, almost never played leading roles, how did it happen, for this we will have to devote quite a... a lot of time to the first half of her life, we will try to do this quickly, of course, she was born at the very beginning of the 20th century, and in fact she could have started acting in films even before the revolution, because she was the daughter of the actor ivan peltser, he just came to cinema in the 15th year of the 20th century both as an actor and as a director, he was from tha

was the witnesses of isenshtein podcast, where we, film historians, natalia ryabchikova and stanislav didinskyut who and how created cult, classic, famous, little-known, forgotten soviet films, and today we talked about such a cult film, which is known under two names: ilica's outposts and i'm 20. all episodes of the witnesses of isenshtein podcast can be found watch on the website of the first channel. tv.ru. thank you and goodbye. hello, in the program time about the most notable events of this day. flight of iskander. our missilemen razed to the ground an important headquarters of the enemy on the border with the kursk region. what else is there now? now temporary accommodation points and summer children's camps in the regions are safe, how are issues being resolved locally? allied approach: drones from ukraine shot down over belarus, minsk's reaction to reports on defense from the fronts of a special operation. air supremacy. su-30, sm2, the latest modifications fighter in the troops. what is the difference from its predecessors? 10 centuries of suzdal, a holiday of the city blessed for hi

it was under... witnesses from einstein, where we, film historians, natalia ryabchikova and stanislav didinsky talk about who and how created famous, unknown, forgotten cult soviet films, about why we need to watch them now, how to find new meanings in them and how to get the most pleasure from them. this podcast was dedicated to the ninetieth anniversary of the remarkable soviet, russian director alexander metta. goodbye. this is the easy money podcast, i am its host mikhail khanov, and today we are figuring out how to protect your personal data in the digital economy. today we have in guests are candidate of physical and mathematical sciences, cybersecurity expert andrey mosalovich. hello, andrey, hello, well, in the times. literally not so distant, we were more worried about our physical safety, at best about economic, about money, and this was also both physical, yes, money that hooligans could take away there you... them from your pocket, or we ourselves gave them under pressure, or it was there, what is called burglary, now more and more often such a term as a digital profile sounds, in

witnesses from einstein and its hosts, i am a film historian natalia ryabshchikova and my colleague stanislav didinskywe tell who and how created classic, cult, little-known, forgotten soviet films. we delve into the secrets of film archives and tell why it is necessary to watch soviet cinema now. how to understand it better and how to get the most pleasure from it, and today our topic is the ninetieth anniversary of the remarkable soviet director, russian director alexander mita and his film, made at the end of sixties burn-burn my star. stas, why is it important for us to talk about alexander metta? because this is the man who largely laid the foundations for the attitude towards cinema as a kind of mass spectacle. this is the new standard. soviet blockbuster, remember, the film crew, the tale of wanderings, this was of course done by meta, who thought about how in general abroad, they create mass cinema, in those years when he was actively interested in this , subsequently he developed his theory, concept and further about the three-act structure, how in general any mass film is built, there is a f

but here is something that was chosen, this is the cameron 70 podcast, i am film historian stanislav didinsky talking about why james cameron's films are not just blockbusters, but are essentially modern ancient tragedies or films shot according to the laws of ancient tragedies. this is very important, the fact is that cameron, as a director. creating a world, any world, sci-fi, real, recreating, recreating the world of the titanic, absolutely fantasy-fairytale, like with avatar, he inhabits this world, he makes it practically real, there was what is called the titanic's twin ship, the same furnishings, dishes, all of this was taken. it wasn't even modeled, it was copied. cameron wasn't filming a fairy tale, that's what's important, yes, he was filming a love story embedded in a tragedy. and what's more, where did this crazy success come from, incredible, which is still very difficult to somehow cover up, precisely because the viewer needs this high, like this, even if the viewer himself doesn't realize it, high a sense of tragedy, a high feeling. catharsis, this kind of change in him, in the