#Chavdar Nikolov

[kinderlist]

„Детски шедьоври от велики писатели“ е поредица на издателство „Лист“, която не само събира под общ знаменател творбите на световни класици, но и подбира едни от най-добрите съвременни български преводачи, художници и илюстратори за работата по изданието. От утре на книжния пазар излиза осмата книга от поредицата и ако още не сте измислили коледни подаръци, то аз ви препоръчвам тази колекция.

КНИГА: “Котаракът и дяволът” на Джеймс Джойс, с преводач Иглика Василева и илюстратор Чавдар Николов. Книгата запознава порасналите читатели с едно друго лице на автора на “Одисей”, а за децата е мост към световната класика.

ОПАКОВКА: “Котаракът и дяволът” включва две истории, които писателят Джеймс Джойс разказва на внука си в писма. Едно от тях е било придружено от платнена котка пълна с бонбони, за която авторът споменава в началото на книгата и която ме вдъхнови за опаковката.

[vm4vm0]

Nemahsis - dollar signs from Crowns & Owls on Vimeo.

“Society takes yet rarely does it return. It is eager to put its people in a glass box, to be an exhausting display extracting what is deemed profitable for personal gain.” - Nemahsis

Directors: Crowns & Owls Production Company: Noir Productions Producer: Javier Alejandro Exec Producer: Greg Smith Production Assistant: Katie Hackett

Local Production Company: B2Y Service Producer: Alexander Kenanov Line Producer: Simeon Vasilev Production Coordinator: Iren Mashova Production Assistant: Teodora Marinova Key set PA: Boiko Ganchev PA: Patar Todorov Todorov PA: Stefan Nikolchov

Director Of Photography: Konstantin Mazov Colourist: Tim Smith 1st AD: Boyka Pehlivanova 2nd AD: Maria Decheva 3rd AD: Elena Mateva Production Designer: Kristian Lekov Art Dept Coordinator: Kristina Bodurova Set Dresser: Mario Benyo Set Dress: Chavdar Klisurski Steadicam Operator: Nikolay Kerezov 1st Assistant Camera: Vanya Ivanova 2nd Assistant Camera: Borislav Belberov BTS Photographer: Kiril Stoyanov Video Control: Simeon Nikolaev Chengelski DIT / Downloader: Kalina Spasova Sound Design: Ed Downham @ King Lear

Nemahsis Stylist: Stephanie Major Cast Stylist: Diana Manolova Assistant Stylist: Veselka Kirilova Avramova Assistant Stylist: Rosen Georgiev Georgiev Seamstress: Donka Drenovska – Pavlova Hair Stylist: Ivayla Stancheva Make-up Artist: Alice Shopova

Gaffer: Alexander Mihailov Spark: Cvetan Trifanov Spark: Dimitur Nazarov Spark: Milen Stoilov Spark: Aleksander Todorov

Key Grip: Alexander Dimitrov Grip: Borislav Anchev Grip: Kiril Kurtov Grip: Daniel Pankov Grip: Vihar Nikolov Grip: Dragomir Arnaudov

Casting Director: Teodora Duparinova Casting Assistant: Alex Toshkov Casting Assistant: Konstantin Tomasini Casting Assistant: Sofiq Bunza

SFX Supervisor: Yovko Dolgandzhiyski SFX Coordinator: Antonia Tocheva SFX Technician: Andrey Velchev SFX Technician: Aleksandur Kukov Action Vehicles Coordinator: Nikolay Vasilev

Production Van 1: Venislav Vasilev Production Van 2: ivan Peychev

Covid Coordinator: Alex Rodriguez Medic on set: Dr. Georgi Nikolov Health & Safety: Georgi Damyanov Health & Safety: Ivelin Ilchev Ilchev

[artwalktv]

“Society takes yet rarely does it return. It is eager to put its people in a glass box, to be an exhausting display extracting what is deemed profitable for personal gain.” - Nemahsis Directors: Crowns & Owls Production Company: Noir Productions Producer: Javier Alejandro Exec Producer: Greg Smith Production Assistant: Katie Hackett Local Production Company: B2Y Service Producer: Alexander Kenanov Line Producer: Simeon Vasilev Production Coordinator: Iren Mashova Production Assistant: Teodora Marinova Key set PA: Boiko Ganchev PA: Patar Todorov Todorov PA: Stefan Nikolchov Director Of Photography: Konstantin Mazov Colourist: Tim Smith 1st AD: Boyka Pehlivanova 2nd AD: Maria Decheva 3rd AD: Elena Mateva Production Designer: Kristian Lekov Art Dept Coordinator: Kristina Bodurova Set Dresser: Mario Benyo Set Dress: Chavdar Klisurski Steadicam Operator: Nikolay Kerezov 1st Assistant Camera: Vanya Ivanova 2nd Assistant Camera: Borislav Belberov BTS Photographer: Kiril Stoyanov Video Control: Simeon Nikolaev Chengelski DIT / Downloader: Kalina Spasova Sound Design: Ed Downham @ King Lear Nemahsis Stylist: Stephanie Major Cast Stylist: Diana Manolova Assistant Stylist: Veselka Kirilova Avramova Assistant Stylist: Rosen Georgiev Georgiev Seamstress: Donka Drenovska – Pavlova Hair Stylist: Ivayla Stancheva Make-up Artist: Alice Shopova Gaffer: Alexander Mihailov Spark: Cvetan Trifanov Spark: Dimitur Nazarov Spark: Milen Stoilov Spark: Aleksander Todorov Key Grip: Alexander Dimitrov Grip: Borislav Anchev Grip: Kiril Kurtov Grip: Daniel Pankov Grip: Vihar Nikolov Grip: Dragomir Arnaudov Casting Director: Teodora Duparinova Casting Assistant: Alex Toshkov Casting Assistant: Konstantin Tomasini Casting Assistant: Sofiq Bunza SFX Supervisor: Yovko Dolgandzhiyski SFX Coordinator: Antonia Tocheva SFX Technician: Andrey Velchev SFX Technician: Aleksandur Kukov Action Vehicles Coordinator: Nikolay Vasilev Production Van 1: Venislav Vasilev Production Van 2: ivan Peychev Covid Coordinator: Alex Rodriguez Medic on set: Dr. Georgi Nikolov Health & Safety: Georgi Damyanov Health & Safety: Ivelin Ilchev Ilchev

[newstfionline]

Cartoonists Earn a Prime Minister’s Ire—and His Subscription

By Boryana Dzhambazova, NY Times, May 5, 2017

SOFIA, Bulgaria--A cartoon in the latest issue of Prass Press, a new satirical newspaper in Bulgaria, depicts leaders “in charge of the global circus”: President Trump straddling a missile; Kim Jong-un of North Korea preparing to launch a warhead with a slingshot; and the prime ministers of Bulgaria and Hungary under the label “baby dictators.”

On the cover, the Bulgarian prime minister, Boiko Borisov, is seen holding hands with an ally, Volen Siderov, who is the head of an extreme-right party known for its rhetorical attacks on migrants and on the Turkish and Roma minority groups.

Satire that pushes the boundaries of taste is nothing new in the West, but in Bulgaria--the European Union’s poorest country, and ranked by Reporters Without Borders as the worst in the 28-nation bloc when it comes to press freedom--Prass Press has quickly found readers. It offers a satirical lens on issues like corruption, the region’s right-wing turn and the growing pains of an economy that remains underdeveloped a decade after joining the European Union.

Although cartoons, comic strips and collages are at the heart of the newspaper, it also offers political commentary and Onion-style news parody.

“Young and old, women and men, I got asked the same question every week: When will the new edition be released?” said Yulia Vasileva, who sells newspapers in the center of Sofia, the Bulgarian capital.

Mr. Borisov--who began a third stint as prime minister on Thursday, after elections last month--counts himself a subscriber, though he says the cartoons make him look too fat.

A deputy prime minister, Tomislav Donchev, posted a photograph on Facebook of himself reading the second issue.

A handful of cartoonists started the publication, which comes out every two weeks, with a meager 4,000 lev, or about $2,200. “No politicians will be spared and we won’t pull any punches,” said one of them, Chavdar Nikolov.

But the first issue--which carried a story on judicial corruption, an endemic problem in Bulgaria--almost never got off the ground.

Although 10,000 copies were printed, most never arrived at newsstands. The newspaper couldn’t get the distribution company to pick up the phone; it suspected political interference.

Eventually, 3,600 copies were returned, some of them stained and smudged. The cartoonists took to an outdoor book market in Sofia, where about 50 copies were sold in 10 minutes.

For the second issue, the publishers decided to distribute the newspaper themselves, to independent bookstores and newsstands throughout the country. This time, the print run was 8,000, and only 76 copies were returned unsold.

Stefka Veleva, 77, visited five newspaper kiosks before she could get her hands on a copy of the third issue, at a bookstore in central Sofia. “I enjoy satire and I wanted to see what all the fuss was about,” she said. “We need more critical voices in this country.”

Mr. Nikolov marveled: “People stop us on the street to congratulate us and tell us that they support us, or just give us a ‘thumbs up’ sign.”

Georgi Lozanov, a media expert and associate professor at Sofia University, praised the newspaper’s focus on images, saying that “messages delivered by caricature” resonated strongly in “societies where traditional media fails to expose problems and deficiencies through deductive reasoning.”

But keeping a new print publication afloat, even an inexpensively produced one, will be a challenge.

“The only way to survive is to stay popular among the audience and to demonstrate their boldness of ideas, biting wit and talent with each upcoming issue,” Mr. Lozanov said.

Vesislava Antonova, a journalist who has been covering the media in Bulgaria since 2000, said that a move to online-only publication might be inevitable. “It’s the best way to escape the traps of the suppressed media market in Bulgaria,” she said.

Aside from economic survival, there is the question of censorship.

Reporters Without Borders, which advocates for press freedom, recently found that journalists in Bulgaria worked in “an environment dominated by corruption and collusion between media, politicians and oligarchs.”

“The government’s allocation of E.U. funding to certain media outlets is conducted with a complete lack of transparency, in effect bribing editors to go easy on the government in their political reporting or refrain from covering certain problematic stories altogether,” the group noted.

One magnate, Delyan Peevski, owns half a dozen newspapers and controls an estimated 80 percent of the print distribution market. (In 2013, thousands of people protested in the streets when the government tried to install him as head of Bulgaria’s main intelligence agency; he resigned a day after he was appointed.)

Only 12 percent of Bulgarians see their media as independent, while 65 percent think otherwise, according to a 2015 survey by the Media Democracy Foundation, done jointly with a foundation established by the Christian Democratic Union, a political party in Germany.

Christo Komarnitski, another founder of Prass Press, said that he had thought that “no one buys newspapers anymore,” and was “blown away by the overwhelming interest” in the first several issues.

He added: “We wanted to give people a paper which is honest and sincere. At the newsstands, the variety of papers on offer is overwhelming, but most of these publications are tabloids peddling gossip and untruths.”

“There will be no harmless jokes in our paper,” Mr. Nikolov declared. “But who knows? Maybe for our 100th issue we’ll portray Borisov as thin.”