ARTMargins Online Blog

Where Film Style Comes From

Written by Zdenko Mandušić

The current holder of the annual Belyi kvadrat (White square) award for Russia's best cinematographer, Mikhail Krichman surprisingly did not study camerawork in film school. After his army service, Krichman studied printmaking. He was drawn to film production after meeting a film school graduate, who invited him to help out during a shoot. During this, his first experience of filmmaking, Krichman was responsible for changing the focus of the camera. In several interviews he has confessed to making a mess of things on that film set, ruining the first take he was involved in. His fortunes have drastically changed since those early mistakes. Along with film director Andrei Zviagintsev, with whom Krichman has collaborated so far on four productions, the once novice cameraman has become one of the leading cinematographers in the Russian Federation, receiving critically praise and collecting festival prizes at home and abroad.


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Writing About Contemporary Films from Eastern Europe

Written by Zdenko Mandušić

Contemporary Films from Eastern Europe pose the challenging problems of dealing with the art of filmmaking in relation to the various transformations experienced in the countries often grouped under this weighted cultural, geographic, and geopolitical designation. The changes that followed the fall of Communism have tellingly affected how films are made, how they are watched, and distributed. The cultural, economic, institutional, and political changes that began in the 1990s have even influenced the way filmmakers, audiences, and scholars think about and discus films from Eastern Europe. Notions of history related to nationalism, cultural memory, and national cinemas are implicit in these changes. 

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Aftermath of Mikhail Gulin’s “public expression”

Written by Artem Onaschenko

After the arrest for art-project on October Square Belarusian artist was dismissed from the University, where he worked as senior lecturer of Department.

On the 9th of October a well-known Belarusian artist Mikhail Gulin was arrested on October Square, where he tried to put into action his art-project “Private monument”, that was realized in the context of international project of the Institute named after Goethe “Going public. About troubles of public expression”.

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Sense of beauty is alien to Belarusian policemen

Written by Artem Onaschenko

This week Minsk became one of the areas for international project of Institute named after Goethe, in which artists from Lithuania, Russia and Belarus discuss troubles with public expression. In simple words, the sense of this project is to demonstrate contemporary art not in  familiar galleries but in public places and to find out the problems, which are connected with such demonstration.

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