Marija Weste | Linköping University (original) (raw)

Papers by Marija Weste

Historical Journal of Film, Radio and Television, Oct 21, 2023

Beyond Identity: A Chronotopic Analysis of the Soviet Latvian Film Divi (1965), 2024

This article offers an analysis of a Soviet Latvian short film Divi / Dvoe / Two in Love (Mikhail... more This article offers an analysis of a Soviet Latvian short film Divi / Dvoe / Two in Love (Mikhail Bogin, 1965, Latvian SSR). The analysis is based on the chronotopic approach to text analysis invented by Mikhail Bakhtin and suggested for film analysis by Robert Stam. Prior to chronotopic analysis of the film, different approaches to Soviet film heritage in Latvian cinema and film studies are discussed. Traditionally, since the collapse of the Soviet Union and up until now, Soviet films have been interpreted from an "identity perspective", that is, the ethnic identity of the filmmakers and the location of filming, which form a binary opposition of 'Soviet' versus 'Latvian'as categories applicable to any element of each film produced in Latvia in the period of Soviet occupation. This approach appeared logical and feasible after Latvia regained its independence from the USSR. In contrast, the chronotopic approach allows us to view films as embedded in timespace. It opens critical possibilities that take into account various, at times contradictory, aspects of film production and existence. This case study of a review of a script for the short film Divi / Two in Love demonstrates that Soviet Latvian film can be understood as a multilayered product, i.e., the result of competition and the confluences of cultural, political and administrative forces.

Historical Journal of Film, Radio and Television, Jan 22, 2023

Читал ли Декарт Витгенштейна?Диалогический подход к чтению, 2023

Читал ли Декарт Витгенштейна? Диалогический подход к чтению Мартин Ленц (Гронинген) Перевод Марии... more Читал ли Декарт Витгенштейна? Диалогический подход к чтению Мартин Ленц (Гронинген) Перевод Марии Весте Читал ли Декарт Витгенштейна? Вам будет приятно услышать, что историки, как и философы, отрицают это.

Historical Journal of Film, Radio and Television

https://handlingideas.blog/, 2023

Здесь видно, что строго проведенный солиспизм совпадает с чистым реализмом. "Я" солипсизма сжимае... more Здесь видно, что строго проведенный солиспизм совпадает с чистым реализмом. "Я" солипсизма сжимается до непротяжённной точки, остается же соотнесенная с ним реальность. Виттенгенштейн TLP 5.64 (процитировано по переводу Козловой М., 1994)

handlingideas.blog, 2022

Теперь, когда мы рассмотрели, как начать чтение, а также некоторые недобросовестные практики, кот... more Теперь, когда мы рассмотрели, как начать чтение, а также некоторые недобросовестные практики, которые могут оказаться на вашем пути, и некоторые эффекты чтения для письма, я наконец хочу перейти к сути дела, то есть к самому тексту. Глядя на горящие от нетерпения лица моих учеников, я думаю, что многие из них обычно хотят сделать все хорошо и высказать какиенибудь очень умные идеи по поводу текста. Я не был исключением, и будучи студентом, тоже так поступал. Тем не менее первое, что необходимо сделать, это установить приблизительное понимание текста. Но как это сделать? Давайте приступим к делу.

Rūdolfs Blaumanis (1863-1908): Lettische Moderne und deutschsprachige Literatur, 2019

Galvenā uzmanība šajā pētījumā ir vēltīta literāro varoņu mediālai transformācijai. Rūdolfa Blaum... more Galvenā uzmanība šajā pētījumā ir vēltīta literāro varoņu mediālai transformācijai. Rūdolfa Blaumaņa noveles varoņi un Leimaņa filmas varoņi darbojas starp žanriem un medijiem. Filma Purva bridējs, 1966, kļūst par vienu no veiksmīgākajiem Latvijas iestudējumiem. Filma tika uzņemta Padomju Sociālistisko Republiku Savienības (PSRS) kultūras, ideoloģiskajos, politiskajos un ekonomiskajos kinoražošanas apstākļos. Filma tika arī starptautiskajā kinofilmu izplatišanā, sākot ar Austrumvāciju 1969. gadā. vissavienības un starptautiskajai kinonomai tā tiek pārdēvēta par Edgar und Kristina. Šodien šī filma ir iekļauta līdzās Rūdolfa Blaumaņa novelēm Latvijas Kultūras kanonā, kategorijā 'Kino'. Rīgas kinostudijas dokumenti, kas attiecas uz filmu Purva bridējs, ļauj spriest par dažiem svarīgiem mediālās transformācijas faktoriem filmas scenārija tapšanā und filmas ražošanā.

Translation of How to read, 2022

[Translator's foreword: Translating this as well as the previous text by Martin Lenz is not only ... more [Translator's foreword: Translating this as well as the previous text by Martin Lenz is not only my attempt to translate a philosophical text (I have only translated fiction texts before), but also an attempt to translate into Russian, at this difficult historical moment, for Russian culture and Russian language (not “Russian” taken as the Russian Federation, identified with an imperialist, aggressive state, inwardly and outwardly). This text about reading and attention should appear in Russian because many people, fleeing from the Russian regime and the war it unleashed, have become close neighbours and because Russian remains the language of international communication and cannot be left to be devoured and slaughtered by the anti-human Russian officials and, finally, because the appearance of Russian translations offers hope to those who are left behind: the hope of engaging in dialogue. Reading texts on the Internet, on the small screen of a mobile phone, is also reading. Reading helps Ukrainian refugees not to lose touch with their homeland and find each other, it saves me during panic attacks, it helps Russian refugees to cope with feelings of guilt and with adapting to new conditions. But reading social media messages also requires the basics that Martin writes about: paying attention, analysing the structure and context of the message, and checking one's own expectations seem to me to be universal techniques for thoughtful, dialogical reading.]

Состязательная культура в философии не служит истинe, 2022

Перевод с английского Автор Мартин Ленц Университет Гронинген, Нидерланды

Historical Journal of Film, Radio and Television, 2020

Historical Journal of Film, Radio and Television

film distributor have been presented in more detail in other publications by Blom and others. The... more film distributor have been presented in more detail in other publications by Blom and others. The multiple chronology given in Sanne Baar’s beautifully laid out timeline situates Desmet’s career in the cultural ferment of Western Europe at the start of the twentieth century, as a reminder of just how much was being invented and destroyed. If the newness of cinema is sometimes overstated in this delightful book, it is to deliver a shot of colour and joy, to bring back the wonder and strangeness of the past to our historical practice.

Historical Journal of Film, Radio and Television

(1931-1993) is French film theoretician. His film research and analysis contributed to placing fi... more (1931-1993) is French film theoretician. His film research and analysis contributed to placing film studies amongst academic disciplines. Metz's writings influenced and inspired generations of film researchers. Christian Metz and the Codes of Cinema is a compilation of contributions and discussions at the conference held by the Department of Film Studies of the University of Zurich in 2013, intended as a tribute to 'the father of modern film theory' (p. 17). This book offers an extensive, encompassing reflection and analysis of Metz's oeuvre in English. Contributors place Metz's ideas and concepts in the context of twentiethcentury film research and investigate the genesis of his ideas.

Border Crossing. Russian Literature into Film is a collection of eleven essays and articles which... more Border Crossing. Russian Literature into Film is a collection of eleven essays and articles which focus on Russian literature. Each chapter analyses films based on Russian literary works. This collection, edited by Alexander Burry and Frederick H. White, follows the thematic complex laid out at a 2002 conference at the University of Surrey organized by Stephen Hutchings and Anat Vernitski. Hutchings and Vernitski edited a volume entitled Russian and Soviet Film Adaptations of literature, 1900-2001: Screening the Word in 2005 in the BASEES / RoutledgeCurzon series on Russian and East European Studies dedicated to the relationship between Russian literature and the camera (Hutchings 2005). The book edited by Vernitski and Hutchings is limited to the Russian-language films produced in the twentieth century – in other words, Russian and Soviet screen adaptations. The volume Border Crossing extends the scope of research by including non-Russian film adaptations and by, to some extent, redefining the concept of “screen adaptation” itself.

Acta Academiae Artium Vilnensis : Baltic cinemas after the 90s: shifting (hi)stories and (id)entities, 2010

Annotation: There are two feature films Das Leben der Anderen, Germany, 2006, and Kurpe, Latvia, ... more Annotation: There are two feature films Das Leben der Anderen, Germany, 2006, and Kurpe, Latvia, 1998, analysed here in terms of their representations of the past. In spite of differences in perspective, genre, time period portrayed, time and mode of production, to name just few, both of these films are devoted to the same primeval idea – the search for truth. It is both truth in its ideal form as well as truth about the soviet/socialist past. Abstract: Marija Weste, PhD candidate, University of Linköping, Taking a walk in the past: An analysis of representations of the soviet past in films Das Leben der Anderen and Kurpe This article analyses two films portraying the recent Soviet/Socialist past in Latvia and in Germany. These films are Kurpe, 1998, by Laila Pakalnina and Das Leben den Anderen, 2006, Florian Henckel von Donnersmarck. In spite of differences in perspective, genre, time period portrayed, time and mode of production, to name just few, both of these films are devoted to the same primeval idea – the search for truth. It is both truth in its ideal form as well as truth about the soviet/socialist past. Moreover, both films Kurpe and Das Leben den Anderen are an attempt to reflect upon the methods of search for truth and the various truths at our, as spectators/eyewitnesses disposal, thus providing a meta-perspective for the subject of truth. Also the respective film reviews are preoccupied with the search for truth, the question on the agenda is if the films portray truth or fail in doing so. Of vital importance in the discussions upon the subject of truth is the perspective, the point of view of respective speaker or the gaze adopted in the current paper as a general term describing the position of eyes as the key perceptive organ in film be it camera, eye of the author, spectator's place or actor's

Historical Journal of Film, Radio and Television, Oct 21, 2023

Beyond Identity: A Chronotopic Analysis of the Soviet Latvian Film Divi (1965), 2024

Historical Journal of Film, Radio and Television, Jan 22, 2023

Читал ли Декарт Витгенштейна?Диалогический подход к чтению, 2023

Historical Journal of Film, Radio and Television

https://handlingideas.blog/, 2023

handlingideas.blog, 2022

Rūdolfs Blaumanis (1863-1908): Lettische Moderne und deutschsprachige Literatur, 2019

Translation of How to read, 2022

Состязательная культура в философии не служит истинe, 2022

Перевод с английского Автор Мартин Ленц Университет Гронинген, Нидерланды

Historical Journal of Film, Radio and Television, 2020

Historical Journal of Film, Radio and Television

Acta Academiae Artium Vilnensis : Baltic cinemas after the 90s: shifting (hi)stories and (id)entities, 2010

Book Review Fate in Film: A Deterministic Approach to Cinema, 2023

The focus of the book by Thomas M. Puhr is a discussion of connections between philosophy and fil... more The focus of the book by Thomas M. Puhr is a discussion of connections between philosophy and film, namely the philosophical approach of determinism and the films that can be related to the horror genre.

Fedor Bondarchuk: Stalingrad, 2023

This book on the film Stalingrad by Russian director Fedor Bondarchuk is the sixth book in the se... more This book on the film Stalingrad by Russian director Fedor Bondarchuk is the sixth book in the series providing concise information and analysis of selected Russian, Soviet, and post-Soviet films from cinema inception to the present day. Every film study in the series contains production details, synopsis, a glimpse on reception, and an extended discussion of content and context. In his book, Stephen M. Norris not only discusses this film in relation to other films devoted to the theme of the World War 2, but also weaves it as an important thread in the fabric of contemporary Russian cinema, while relating films to the political developments in the Soviet Union and later Russian Federation. The film Stalingrad is presented in four chapters: at first, it is viewed as a battlefield of collective memory, the second perspective on the film is its place in the Soviet cinematic tradition, the third view of the film is a close up of the film itself, namely, its analysis, and the final part is devoted to a discussion of film reviews.

Mapping Fairy-Tale Space: Pastiche and Metafiction in Borderless Tales, 2023

In the four chapters of her book, Christy Williams presents a tightly written and thoroughly rese... more In the four chapters of her book, Christy Williams presents a tightly written and thoroughly researched cross-border study of modern fairy-tales presented across media. In the introduction, Williams describes in detail her research field and carefully places her study. The idea of mapping focused on assigning location is central to Williams.

Apparatus Journal, 2021

The author of the book reviewed here, Vlad Strukov, is a multidisciplinary researcher and cultura... more The author of the book reviewed here, Vlad Strukov, is a multidisciplinary researcher and cultural practitioner in art, media, and history, who acts internationally. Apart from his projects in the UK and Russia, he is currently carrying out a major research on contemporary queer visual culture, funded by the Swedish Research Council. In the twelve chapters of his Contemporary Russian Cinema, Strukov presents his original theoretical approach showcased in the discussion of 320 Russian films made in the first decade of the twenty-first century, more precisely – between the years 2000 and 2015. His selection of films aims to capture the cinematic sensibility of “the Putin era” that manifests itself in the “symbolic mode” – a particular mode of expression that permeates contemporary Russian cinema. In this book, he presents case studies of the films that most vividly illustrate this cinematographic phenomenon. I employ the term ‘phenomenon’ because in Strukov’s manuscript, it becomes increasingly obvious that cinematography cannot be limited neither to its expressive, nor to its enunciative functions, and that it is interrelated with multiple dimensions and spheres of human life and consciousness.

The contemporary russian cinema reader 2005-2016, 2020

In the eighteen chapters of this book an introduction to significant Russian films released betwe... more In the eighteen chapters of this book an introduction to significant Russian films released between 2005 and 2016. Authors of essays included in this volume that follows previous publications of The Russian Cinema Reader are Russian, American, Australian and British academics who provide different perspectives and interpretations of twenty one films available with English subtitles. A list of suggested further reading in English and Russian follows each chapter. The volume is intended for undergraduate students of modern Russian culture courses and film studies, but it can be of interest for broad audience due to accessibility of the language, background information on individual directors and on Russian culture as well as context of each film.

Christian Metz and the Codes of Cinema: Film Semiology and Beyond , 2019

Christian Metz (1931-1993) is French film theoretician. His film research and analysis contribute... more Christian Metz (1931-1993) is French film theoretician. His film research and analysis contributed to placing film studies amongst academic disciplines. Metz's writings influenced and inspired generations of film researchers. Christian Metz and the Codes of Cinema is a compilation of contributions and discussions at the conference held by the Department of Film Studies of the University of Zurich in 2013, intended as a tribute to 'the father of modern film theory' (Tröhler, p. 17).
This book offers an extensive, encompassing reflection and analysis of Metz's oeuvre in English. Most of contributors to this volume have translated quotes directly from French original. Contributors place Metz's ideas and concepts in the context of twentieth-century film research and investigate genesis of his ideas.

Historical Journal of Film, Radio and Television, 25 March 2016, p.1-2 [Peer Reviewed Journal] Routledge (Taylor & Francis Group, 2016

The Cold War is the global phenomenon of the second half of the twentieth century. It has been de... more The Cold War is the global phenomenon of the second half of the twentieth century. It has been described, discussed and analysed from the perspective of major players – USA, Great Britain, USSR. This volume offers a different, peripheral, perspective on the phenomenon of the Cold War. The book is divided into three parts thematically: the first is questioning the soviet influence, the part two is devoted to space, sports and spies and the final third part is focused on the end of the Cold War. The collection of articles is aimed at shedding new light on Nordic media during the Cold War.
In the introduction Bastiansen and Werenskjold motivate the unity of North European states by their geopolitical position, tradition of social democracy and common Nordic identity in the Cold War as a global phenomenon. At the same time editors Bastiansen and Werenskjold state in the introductory article that media analysis in each Nordic country demonstrate individual approach to the interaction between media and the Cold War.
The field of studies presented in the book is situated at the crossroads of history and media studies. This volume is a collection of 17 articles that focus on Nordic media during the Cold War. It belongs to the line of research on British, German, Japan’s and American media during the Cold War. The research on mass media in the situation of the Cold War focuses in this volume at large at the history of press. This focus provides an important and necessary context for the studies of radio broadcasting history and the analysis fiction films of the opening and closing chapters of the volume.

Риторический комплекс "умолчаниe" в двух фильмах производства Рижской киностудии "Двое" и "Четыре... more Риторический комплекс "умолчаниe" в двух фильмах производства Рижской киностудии "Двое" и "Четыре белые рубашки". Лаборатория исторической, социальной и культурной антропологии при поддержке Саратовского государственного университета им. Н. Г. Чернышевского и Саратовского государственного художественного музея им. А. Н. Радищева конференция «Умолчание: интерпретация культурных кодов» (XX Пирровы чтения). Мария Весте аспирантка Университет Линчепинг, Швеция Два художественных фильма "Двое", режиссёр Михaил Богин, и "Четыре белые рубашки", режиcсёр Роландс Калныньш, разделяют всего лишь два года, но риторический комплекс "умолчаниe" за это время коренным образом меняет как форму так и значение в мире, созданном в фильме, и в мире, создающем фильм. В первом фильме 1964 года молодой музыкант встречает глухонемую девушку. Здесь, немота главный героини мотивирует "умолчание" в повествовании. Главный герой разговаривает мало, он-музыкант, его главный инструмент общения-музыка. Во втором фильме, 1967 года производства главный герой тоже связан с музыкой. Он пишет песни для вокально-инструментального ансамбля. Молчание как самого поэта, так и его группы, связана с цензурой. На первый взгляд, главная разница между этими двумя фильмами в том, что в первом фильме герои хотят, но не могут разговаривать, а во втором фильме герои могут говорить, но не хотят и замолкают. В моём докладе, я покажу как в первом фильме "умолчание" и тишина наступают постепенно, и как, тремя годами позже, во втором фильме сцена молчания, которая заканчивает повествование, имеет эффект внезапной, оглушительной тишины. Наташа и Сергей концентрируются в своем "умолчании" на аспекте слуха, им важно услышать друг друга. Цезарь и его друзья заняты темой голоса, им важно высказаться и быть услышанными. Первая сцена в начале первого фильма представляет парк как место и показывает парк «с высоты птичьего полета». Камера смотрит на людей, деревья и улицы сверху. Путь Сергея в парке показан как постепенное движение от включённости в общение к одиночеству и молчанию. Это происходит в три этапа. Сначала он идет в группе других студентов. В этом эпизоде происходит живое взаимодействие и громкое общение. Друзья Сергея-музыканты: один из них несёт виолончель. В следующем эпизоде, Сергей и девушка выходят из группы. Он кладет руку ей на плечи. Наконец, он идет через парк в одиночестве. В это время камера медленно приближается к персонажу, сменяя дальний на общий, вновь на дальний, общий и средний кинематографический план. Весь путь занимает двадцать секунд. Это небольшой рассказ о человеке, который уходит от группы, затем разбивает пару и, наконец, продолжает путь в