| International relations; that is, the
| |
| | this case, the singing duo t.A.T.u.)
|
| relations between both nations and their
| |
| | In another aspect of the film, Konov uses
|
| people, cannot be improved enough. The
| |
| | his principle to demonstrate one's never
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| human race is separated by language,
| |
| | ending activity of having to choose
|
| race, mentality, and very strict borders.
| |
| | between exercising their volition, or
|
| Are there really methods to improve these
| |
| | accepting a pre-destined fate. Later he
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| relations and bring people, cultures and
| |
| | expands this by presenting the same girls
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| nations together? According to Serge
| |
| | (representing on a deeper level the youth
|
| Konov, the modern Russian philosopher and
| |
| | of today's Russia and America) making
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| film producer, there are. Using his
| |
| | another choice. This time it is between
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| principle of Genetic Memory Recall, he
| |
| | loyalty and logic. These choices are
|
| refers to a time when all people were
| |
| | presented by a character powerfully
|
| similar with the only differences among
| |
| | played by Igor Desyatnikov, himself a
|
| them, being in variation, not in
| |
| | prominent Russian thinker, actor, singer
|
| conflicts.
| |
| | and businessman. The choices are between
|
| In his latest film, entitled Finding
| |
| | the elements of good and evil.
|
| t.A.T.u. (staring Misha Barton) he
| |
| | One will have to wait and see how the
|
| applies his principle in the area of film
| |
| | famous and very artistic director Roland
|
| production. He has taken a rather mundane
| |
| | Joffe (Mission, The Killing Fields,
|
| story, and created a space for conflict
| |
| | Captivity) interprets these issues, but
|
| resolution and has done so in a practical
| |
| | one can be sure, it will be done well.
|
| way. While viewing the story of a lonely
| |
| | The team making the film is again, a
|
| American teenage girl in Moscow finding
| |
| | representation of improved international
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| part of her mature self in a
| |
| | relations. The production company (RAMCO)
|
| coming-of-age drama, he also weaves both
| |
| | is an American-Russian joint venture. Mr.
|
| the story line and creative process with
| |
| | Konov is never tired to explain, "one
|
| the cooperation and improvement of
| |
| | must be consistent in their thoughts and
|
| international relations he espouses.
| |
| | actions. RAMCO is a working practical
|
| At one level the story finds the American
| |
| | example of the improved international
|
| teenager bonding with a Russian one,
| |
| | relations being discussed, even now at
|
| first on the internet, and later
| |
| | the highest world levels".
|
| personally. The principles of both
| |
| | Other films are planned, and the unifying
|
| electronic communication and personal
| |
| | element in each will certainly be a the
|
| communication meet face to face. The
| |
| | Konov Principle in action. In the first
|
| Konov Principle has as one of its tenets,
| |
| | film Captivity, man's basic inhumanity to
|
| such communication, and its evolution, to
| |
| | man is examined in its extreme case. In
|
| finally communicating with one's own
| |
| | Finding t.A.T.u. we are taken to back to
|
| genetic codes! The two girls find their
| |
| | the problems of maturing, and re-faced in
|
| bond is a role model and a archetype, (in
| |
| | the adult world of decision making.
|
