Tigran S Simyan
Biographic Data
| ID | 10290713 |
|---|---|
| NAME | Tigran S Simyan |
| GIVEN NAMES | Tigran S |
| FAMILY NAME | Simyan |
| SIGNATURE | SIMYAN T S |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Artavazd Pelechian’s “Montage-at-a-Distance” in Semiotic Perspective (By the Example Director’s Theoretical Essays)
The article explores the renowned Armenian documentary filmmaker Artavazd Pelechian (born 1938), whose acclaim surged in 1988, marking the end of the Soviet era, when many figures of Armenian culture became peripatetic. Through a semiotic lens and metalanguage, the article delves into the core elements of “Montage-at-aDistance,” examining the interplay between image and sound/music, and the generative potential inherent in the director’s cinemati…
Sergey Parajanov and Tiflis
This paper considers the great director Sergei Parajanov (1924–1990) as a “guide” and a connoisseur of his hometown of Tiflis, and an interpreter of urban space. Specifically, it focuses on the analysis of the screenplay “Confession” that describes the transformation of the urban landscape. The cemeteries of the Old Tiflis era (the Old-Veria and Khojivan cemeteries) were being destroyed and turned into cultural parks. Such transformations became …
No prominent works on this page.
Sergey Parajanov and Tiflis
This paper considers the great director Sergei Parajanov (1924–1990) as a “guide” and a connoisseur of his hometown of Tiflis, and an interpreter of urban space. Specifically, it focuses on the analysis of the screenplay “Confession” that describes the transformation of the urban landscape. The cemeteries of the Old Tiflis era (the Old-Veria and Khojivan cemeteries) were being destroyed and turned into cultural parks. Such transformations became …
Artavazd Pelechian’s “Montage-at-a-Distance” in Semiotic Perspective (By the Example Director’s Theoretical Essays)
The article explores the renowned Armenian documentary filmmaker Artavazd Pelechian (born 1938), whose acclaim surged in 1988, marking the end of the Soviet era, when many figures of Armenian culture became peripatetic. Through a semiotic lens and metalanguage, the article delves into the core elements of “Montage-at-aDistance,” examining the interplay between image and sound/music, and the generative potential inherent in the director’s cinemati…
Art (2 works) · Philosophy (2 works) · Sociology (2 works) · Visual arts (2 works) · Archaeology (1 work) · Art history (1 work) · Cityscape (1 work) · European Linguistics and Anthropology (1 work) · History (1 work) · Humanities (1 work)