«Энциклопедия запрещенного кино» повествует о 125 известных фильмах, которые в той или иной степени подвергались цензуре в США. В ней содержится анализ наиболее заметных кинокартин, а также тех менявшихся на протяжении более чем столетней истории кинематографа мер и механизмов, которые применялись для полного или частичного запрета фильмов. Политические, общественные, религиозные организации, представители секс-меньшинств и маргинальных группировок и просто добропорядочные граждане — все они считают себя вправе диктовать художникам. Советским гражданам, выросшим в условиях цензуры, будет любопытно узнать, как запрещали, кромсали и уродовали такие фильмы, как «Эммануэль» и «Прощай, оружие!», «Великий диктатор» и «Сладкая жизнь».

Данный сборник содержит материалы Международного круглого стола на тему: «65 лет с начала депортации жителей Украины в Казахстан», который состоялся 20 ноября 2012 года на базе Карагандинского государственного технического университета (Республика Казахстан). Начиная с 1947 года в Казахстан было депортировано около 500 тыс украинцев. В том числе, 171,5 тыс. человек – «семьи участников банд ОУН, пособники членам ОУН и члены их семей, кулаки-националисты и их семьи»; около 300 тыс. украинцев, возвратившихся из лагерей Германии и выселенных «за государственную измену» на спецпоселениев восточные районы СССР. В Казахстане с большим вниманием относятсяк сохранению исторической правды о периоде тоталитарного режима. По инициативе Президента Нурсултана Назарбаева установлен День памятижертв политических репрессий и массового голода - 31 мая, открыты музейно-мемориальные комплексы, поставлены монументы, пострадавшим в тегоды, осуществляется научно-образовательная и публицистическая работа. Государство оказывает значительное содействие для сохранения памяти о жертвах сталинских репрессий - представителей разных стран и национальностей. В частности, были установлены памятные знаки украинцам, грузинам, азербайджанцам, полякам, литовцам (на месте лагеря "АЛЖИР"), а также чеченцам, японцам, корейцам, немцам, туркам и другим репрессированным народам из 15 республик бывшего СССР (с. Спасское, с. Долинка Карагандинской области). Научно-образовательными учреждениями и общественностью Казахстана осуществляется активная поисковая работа и по теме «Голодомора», в том числе и в Казахстане, где в1932-33 гг. погибло почти 40% населения. С обретением независимости Республики Казахстан активно осуществляется реабилитация многих репрессированных лиц, которая сопровождается поддержкой со стороны государства и местных органов власти.Поэтому организаторы круглого стола посвятили выпуск данного сборника Дню Первого Президента Республики Казахстан, благодаря которому в Казахстане стало возможным не только проведение таких мероприятий, но и то, что с первых лет новейшей истории независимой Республики и поныне реализуется последовательная деятельность органов государственной власти по увековечиванию памяти невинно пострадавших людей, созданию благоприятного климата в стране для осуществления мирного труда каждого труженика, проживающего на её территории. Поставленные цели, по мнению участников, достигнуты. Но главный итог его работы: впервые в качестве отдельной страницы трагической истории репрессий в СССР обсуждена тема массовой депортации украинского населения в Казахстан после Второй мировой войны. 4 Эта тема актуальна для всех, кто интересуется историей политических репрессий и судьбами миллионов людей, насильственно изгнанных со своей земли.

A Companion to Eastern European Cinemas showcases twenty-five essays written by established and emerging film scholars that trace the history of Eastern European cinemas and offer an up-to-date assessment of post-socialist film cultures.

Das vorliegende Deutsch-ukrainische und Ukrainischdeutsche Fliegerorterbuch ist das erste аиі diesem Gebiet. Ев erganzt die wertyolle Reihe y()Jl ukrainischen terminologischen Worterbiichern (wie z. В. chemisches, mathematisches, astronomisches, geologisches, technisches, iuristisches, politisches и. а.), die nach dem Weltkriege 1914-1918 durch die Ukrainische Akademie der vVissenschaften in КУііУ herausgegeben ,yurden. Der deutsche ТеіІ des Wer'kes stiitzt sich auf zahlreiche deutsche Fliegerliteratur, der ukrainische аиІ das "Russisch- ukrainische Militarworterbucll" уоп 8. и. О. Jakubski) (Ukrainischer 8taatsyerlag 1928) sowie аиІ das "Deutsche und ukrainische Militarworterbuch" уоп Ilnytzkyj-Zankowytsch) (Berlin, Bernard & Graefe, 1939).

Das vorliegende Deutsch-ukrainische und Ukrainischdeutsche Fliegerorterbuch ist das erste аиі diesem Gebiet. Ев erganzt die wertyolle Reihe y()Jl ukrainischen terminologischen Worterbiichern (wie z. В. chemisches, mathematisches, astronomisches, geologisches, technisches, iuristisches, politisches и. а.), die nach dem Weltkriege 1914-1918 durch die Ukrainische Akademie der vVissenschaften in КУііУ herausgegeben ,yurden. Der deutsche ТеіІ des Wer'kes stiitzt sich auf zahlreiche deutsche Fliegerliteratur, der ukrainische аиІ das "Russisch- ukrainische Militarworterbucll" уоп 8. и. О. Jakubski) (Ukrainischer 8taatsyerlag 1928) sowie аиІ das "Deutsche und ukrainische Militarworterbuch" уоп Ilnytzkyj-Zankowytsch) (Berlin, Bernard & Graefe, 1939).

Film noir—literally "black cinema"—is the label customarily given to a group of black and white American films, mostly crime thrillers, made between 1940 and 1959. Today there is considerable dispute about what are the shared features that classify a noir film, and therefore which films should be included in this category. These problems are partly caused because film noir is a retrospective label that was not used in the 1940s or 1950s by the film industry as a production category and therefore its existence and features cannot be established through reference to trade documents. The Historical Dictionary of Film Noir is a comprehensive guide that ranges from 1940 to present day neo-noir. It consists of a chronology, an introductory essay, a bibliography, a filmography, and over 400 cross-referenced dictionary entries on every aspect of film noir and neo-noir, including key films, personnel (actors, cinematographers, composers, directors, producers, set designers, and writers), themes, issues, influences, visual style, cycles of films (e.g. amnesiac noirs), the representation of the city and gender, other forms (comics/graphic novels, television, and videogames), and noir's presence in world cinema. It is an essential reference work for all those interested in this important cultural phenomenon.

Although it has actually been around since the early days of filmmaking, science fiction cinema is a contemporary and futuristic genre. It deals with events that usually take place at a far-off time and often faroff place; thus it appeals to the human desire to understand and perhaps predict the future. It also helps to explain science and technology and where they could be leading us. Science fiction cinema tackles prickly problems, often in a context that make them more real than reality— problems such as environmental degradation; overpopulation and pressure on space and goods; friction between the sexes, races, and nations; and the coming and substantially greater difficulties in dealing with rogue computers, robots, clones, and possibly even aliens (if we can believe what we see in the movies). Although science fiction cinema is often termed escapism, it is also an attempt to come to terms with a rapidly changing world. Consider the words of the great science fiction author Arthur C. Clarke: “We all want to escape occasionally. But science fiction is often very far from escapism, in fact you might say that science fiction is escape into reality. . . . It’s a fiction which does concern itself with real issues: the origin of man; our future. In fact I can’t think of any form of literature which is more concerned with real issues, reality.” This Historical Dictionary of Science Fiction Cinema is an excellent guide to the field. The chronology illustrates how long the movies have been around and charts some of the major advances—and films—over the years. The introduction then provides an overview, reminding us that science fiction cinema is hardly monolithic; rather, it consists of different genres, produced in an increasing range of countries, and using varying techniques. The bulk of the information, as usual, appears in the dictionary, with entries on directors, actors, and films. Other entries deal with topics such as monsters, alien invasions, utopia, and dystopia, as well as production sites (half a dozen countries), technical aspects, and new technologies (computer-generated imagery). The bibliography provides resources for further information. It was written by M. Keith Booker, who is the James E. and Ellen Wadley Roper Professor of English at the University of Arkansas. He is also the director of the university’s Program in Comparative Literature and Cultural Studies. Therefore, Dr. Booker does not simply deal with science fiction in the abstract; he shows how films and their writers, directors, actors, and genres fit into a historical context and relate to us in the present. He has also written dozens of books on literature and popular culture—more broadly and more specifically, half a dozen books on science fiction, with two recent publications dealing with science fiction cinema: Alternative Americas: Science Fiction Film and American Culture and The Science Fiction Handbook. This volume, therefore, presents a wealth of experience and knowledge for a variety of audiences.

Nazisploitation! examines past intersections of National Socialism and popular cinema and the recent reemergence of this imagery in contemporary visual culture. In the late 1960s and early 1970s, films such as Love Camp 7 and Ilsa, She-Wolf of the SS introduced and reinforced the image of Nazis as master paradigms of evil in what film theorists deem the 'sleaze' film. More recently, Tarantino's Inglourious Basterds, as well as video games such as Call of Duty: World at War, have reinvented this iconography for new audiences. In these works, the violent Nazi becomes the hyperbolic caricature of the "monstrous feminine" or the masculine sadist. Power-hungry scientists seek to clone the Führer, and Nazi zombies rise from the grave. The history, aesthetic strategies, and political implications of such translations of National Socialism into the realm of commercial, low brow, and 'sleaze' visual culture are the focus of this book. The contributors examine when and why the Nazisploitation genre emerged as it did, how it establishes and violates taboos, and why this iconography resonates with contemporary audiences.

Olexandr Dovzhenko (1894-1956) was on outstanding Soviet Ukrainian film director, prose and scenario writer, and winner of USSR State prizes and the Lenin Prize. In 1958, at an international film festival in Brussels, his film The Land was included in the twelve best motion pictures of all times and peoples. Dovzhenko influenced the cinema of many countries, especially Italy. Dovzhenko’s world outlook and creative methods were shaped by the October Socialist Revolution of 1917. His films are a whole epoch in the history of Soviet cinema. With a great deal of mastery they depict the heroic struggle of our people in establishing Soviet power (Arsenal, 1929; Shchors, 1930), the socialist changes in the countryside (The Land, 1930), the courage and devotion of the Soviet people in the war against fascism (The Story of the Fiery Years, 1944-1945), and the moral grandeur of his contemporaries building the bright future of their country (A Poem about the Sea, 1956). Epic treatment of themes and profound lyricism are the main features of Dovzhenko’s works. During the Great Patriotic War of 1941-1945 Dovzhenko wrote several stories, sketches and publicistic articles. His best stories — Mother, The Night before the Battle, and It Cannot Be Forgotten — express his firm belief in the Soviet people’s victory over the nazi invaders. In 1942, in his diary, Dovzhenko made the first entries about his childhood, which he later used in the autobiographical story The Enchanted Desna (1954-1955). It was not without reason that during this severe time for his country he wanted to write a book about the formation of a generation which was to build a new world and later defend it in the years of hard trials. The Enchanted Desna is a real poem about the making of man, the moral beauty of those who work the land, and the charming nature of the author’s native countryside. The story is imbued with deep lyricism and gentle humor. It would not be far-fetched to say that by writing this realistic and philosophical story Olexandr Dovzhenko provided his readers with a key to understanding his entire heritage.