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Дорогие друзья!
В Караиделе ведется подготовка к проведению Общероссийской гражданской акции «Бессмертный полк». Ко дню Победы мы формируем наш бессмертный полк, всем, кому дорога память о своем фронтовике сделайте транспарант с портретом своего солдата!
Участники акции, изготовившие транспарант, формируют колонну «Бессмертного полка», которая пройдет торжественным шествием, посвященном годовщине Победы в Великой Отечественной войне 1941-1945 годов, по главным улицам страны. «Бессмертный полк» должен пройти победным строем и по нашему селу.
![Stephen Dwoskin \ Стивен Двоскин. Stephen Dwoskin \ Стивен Двоскин
карьера: Режиcсер, Оператор, Сценарист, Продюсер, Актер
дата рождения: 1939
место рождения: Нью-Йорк, США
жанры: документальный, драма, короткометражка
всего фильмов: 12
первый фильм: 1971
последний фильм: 2006
Главная тема в творчестве британского режиссера Стивена Двоскина - это боль, боль физическая и моральная, боль-страдание и боль-удовольствие. Боль для Стивена Двоскина не абстрактное понятие: девятилетним ребёнком он переболел полиомиелитом и навсегда остался калекой. Но прикованный к инвалидному креслу Двоскин тем не менее стал одним из величайших деятелей мирового киноандеграунда. Его друг и соратник Йонас Мекас (они вместе начинали в конце 50-х в Нью-Йорке) писал в одной из своих статей: Искусство Двоскина многим обязано его физическим увечьям, именно их преодоление стало для него источником вдохновения.
Та торрентах :
Возьми меня. Грязь. Девушка. Папа. Дедушкина груша. Дорогая Фрэнсис (посвящение) / Take me. Dirty. Girl. Dad. Grandpere's pear. Dear Frances (in memoriam) (Стивен Двоскин / Stephen Dwoskin) [1968 - 2003 гг., авангард, видеоарт, DVDRip]
RIP
http://rutracker.org/forum/viewtopic.php?t=2827422
DVD
http://rutracker.org/forum/viewtopic.php?t=2109060
Stephen Dwoskin (1939–2012)
Steve Dwoskin
Born: January 15, 1939 in Brooklyn, New York City, New York, USA
Died: June 28, 2012 (age 73) in London, England, UK
was an accomplished experimental filmmaker whose work had a decisive effect on the British film theorists of the early 1970s. His films are held at the BFI and distributed by LUX. His archive is held at The University of Reading.
Steve Dwoskin was born in 1939 in Brooklyn, New York City, into a poor family originally from Odessa. He contracted polio at the age of 9 and was left disabled. After studying art (under professors de Kooning and Albers), he attended New York University and the Parsons School of Design, and was a regular in Greenwich Village with the likes of Andy Warhol, Allen Ginsberg, and Robert Frank. He discovered experimental cinema watching Maya Deren's films and was influenced by the transgressive underground films of Jack Smith and Ron Rice. He later published the book Film is… on this genre, in a highly personal and activist style, at a time when the police frequently carried out Prohibition-style raids on venues where experimental films were shown, confiscating and destroying prints, and arresting organizers, film-makers and sometimes audience members. Such films by-passed the usual commercial channels and norms and were thus considered unacceptable and branded “pornographic”.
After working as a photographer and graphic designer, Dwoskin worked as an art director for CBS while at the same time producing his own films. The first of these, Asleep, was awarded a prize at the Venice Biennale. In 1964, he moved to Britain on a scholarship. He settled there and was the driving force behind an independent cinema movement (the London Film-Makers’ Cooperative). In the 1970s, he directed feature films which made him known outside the experimental movement and attracted support from cultural television stations and institutions (particularly Germany’s ZDF). After working for a time on subjective documentaries on artists such as photographer Bill Brandt or the Ballet Nègre company, his film-making became increasingly introspective as his mobility diminished.
In this work, the geographical division between New York and London is matched by a division between a true experimental period (tinkering with the components of film, framing and voice-overs, timing and repetition), and a dramatically and narratively more complex period.
But Dwoskin’s entire oeuvre is an attempt to explore the issue of voyeurism and of the relationship with the Other that Dwoskin’s human camera attempts to approach or appropriate in spite of](https://sun9-43.userapi.com/s/v1/ig1/ZTyr5fyN80Z1X7dLY8TC34kuiQzgM31w-_3SSHEEOLCBArZsUsqT-1IDpYWj0IyiOkt_7A.jpg?quality=96&crop=0,77,440,440&as=32x32,48x48,72x72,108x108,160x160,240x240,360x360&ava=1&cs=480x480 "Stephen Dwoskin \ Стивен Двоскин. Stephen Dwoskin \ Стивен Двоскин
карьера: Режиcсер, Оператор, Сценарист, Продюсер, Актер
дата рождения: 1939
место рождения: Нью-Йорк, США
жанры: документальный, драма, короткометражка
всего фильмов: 12
первый фильм: 1971
последний фильм: 2006
Главная тема в творчестве британского режиссера Стивена Двоскина - это боль, боль физическая и моральная, боль-страдание и боль-удовольствие. Боль для Стивена Двоскина не абстрактное понятие: девятилетним ребёнком он переболел полиомиелитом и навсегда остался калекой. Но прикованный к инвалидному креслу Двоскин тем не менее стал одним из величайших деятелей мирового киноандеграунда. Его друг и соратник Йонас Мекас (они вместе начинали в конце 50-х в Нью-Йорке) писал в одной из своих статей: Искусство Двоскина многим обязано его физическим увечьям, именно их преодоление стало для него источником вдохновения.
Та торрентах :
Возьми меня. Грязь. Девушка. Папа. Дедушкина груша. Дорогая Фрэнсис (посвящение) / Take me. Dirty. Girl. Dad. Grandpere's pear. Dear Frances (in memoriam) (Стивен Двоскин / Stephen Dwoskin) [1968 - 2003 гг., авангард, видеоарт, DVDRip]
RIP
http://rutracker.org/forum/viewtopic.php?t=2827422
DVD
http://rutracker.org/forum/viewtopic.php?t=2109060
Stephen Dwoskin (1939–2012)
Steve Dwoskin
Born: January 15, 1939 in Brooklyn, New York City, New York, USA
Died: June 28, 2012 (age 73) in London, England, UK
was an accomplished experimental filmmaker whose work had a decisive effect on the British film theorists of the early 1970s. His films are held at the BFI and distributed by LUX. His archive is held at The University of Reading.
Steve Dwoskin was born in 1939 in Brooklyn, New York City, into a poor family originally from Odessa. He contracted polio at the age of 9 and was left disabled. After studying art (under professors de Kooning and Albers), he attended New York University and the Parsons School of Design, and was a regular in Greenwich Village with the likes of Andy Warhol, Allen Ginsberg, and Robert Frank. He discovered experimental cinema watching Maya Deren's films and was influenced by the transgressive underground films of Jack Smith and Ron Rice. He later published the book Film is… on this genre, in a highly personal and activist style, at a time when the police frequently carried out Prohibition-style raids on venues where experimental films were shown, confiscating and destroying prints, and arresting organizers, film-makers and sometimes audience members. Such films by-passed the usual commercial channels and norms and were thus considered unacceptable and branded “pornographic”.
After working as a photographer and graphic designer, Dwoskin worked as an art director for CBS while at the same time producing his own films. The first of these, Asleep, was awarded a prize at the Venice Biennale. In 1964, he moved to Britain on a scholarship. He settled there and was the driving force behind an independent cinema movement (the London Film-Makers’ Cooperative). In the 1970s, he directed feature films which made him known outside the experimental movement and attracted support from cultural television stations and institutions (particularly Germany’s ZDF). After working for a time on subjective documentaries on artists such as photographer Bill Brandt or the Ballet Nègre company, his film-making became increasingly introspective as his mobility diminished.
In this work, the geographical division between New York and London is matched by a division between a true experimental period (tinkering with the components of film, framing and voice-overs, timing and repetition), and a dramatically and narratively more complex period.
But Dwoskin’s entire oeuvre is an attempt to explore the issue of voyeurism and of the relationship with the Other that Dwoskin’s human camera attempts to approach or appropriate in spite of")
