Data Tutashkhia

Data Tutashkhia (Georgian: დათა თუთაშხია) is a novel written by Chabua Amirejibi in 1975. It was translated to English by Antonina W. Bouis in 1985. This is one of the most popular readable novel in Georgia and former Soviet Union countries.

About a novel

The novel is a story of a Georgian outlaw of the Imperial Russian period, a very popular theme in Georgian literature, and combines thrilling escapades with Dostoevskian dealings with the fate of an individual and national soul. The story is narrated by a Russian gendarme, Count Szeged, who frequently passes the story-telling on to other characters. The novel follows the life of outlaw Data Tutashkhia, who spends years eluding capture by the Tsarist police. They are led by Data's cousin, his detached and imperturbable double, Mushni Zarandia. The book, and the feature film based on it, turned Data Tutaskhia into an iconic hero, widely popular in Georgia.

Plot and structure

Data

Data (/ˈdeɪtə/ DAY-tə, /ˈdætə/ DA-tə, or /ˈdɑːtə/ DAH-tə) is a set of values of qualitative or quantitative variables; restated, pieces of data are individual pieces of information. Data is measured, collected and reported, and analyzed, whereupon it can be visualized using graphs or images. Data as a general concept refers to the fact that some existing information or knowledge is represented or coded in some form suitable for better usage or processing.

Raw data, i.e. unprocessed data, is a collection of numbers, characters; data processing commonly occurs by stages, and the "processed data" from one stage may be considered the "raw data" of the next. Field data is raw data that is collected in an uncontrolled in situ environment. Experimental data is data that is generated within the context of a scientific investigation by observation and recording.

The Latin word "data" is the plural of "datum", and still may be used as a plural noun in this sense. Nowadays, though, "data" is most commonly used in the singular, as a mass noun (like "information", "sand" or "rain").

Guram Sagaradze

Guram Sagaradze may refer to:

Karlo Sakandelidze

Karlo Sakandelidze (April 1, 1928 – October 29, 2010) was a Georgian film and theatre actor.

Sakandelidze was born in Bzvani, Georgia. He was an actor with the Rustaveli Theatre. Sakandelidze's Important roles included Gogia (Losve Story), Gio (Tariel Golua), Osiko Kharebadze (The Autumn Nobles) Kuchara (Kvarkvare Tutaberi), Toshek (Such a Love), Chinchraka (Chinchraka), Butkhuza (The Old Pipers), Aristo Kvashavadze (The Stepmother of Samanaishvili), Peasant and Husband (The Caucasian Chalk Circle), Catesby (Richard III), and Scrooge in (Christmas Dream).

Karlo Sakandelidze also acted in films. His first film was Magdanas Lurja (1955), directed by Tengiz Abuladze and Rezo Chkheidze, where he played the role of Vano. This film received a Golden Palm at the Cannes film festival, for the best fiction film-short. Another important role for Sakandeidze was in the movie Data Tutashxia, in which he played Nikandro Qiria.

He died in Tbilisi.

External links

Cinematographer

A cinematographer or director of photography (sometimes shortened to DP or DOP) is the chief over the camera crews working on a film, television production or other live action piece and is responsible for achieving artistic and technical decisions related to the image. The study and practice of this field is referred to as cinematography. Some filmmakers say that the cinematographer is just the chief over the camera and lighting, and the Director of Photography is the chief over all the photography components of film, including framing, costumes, makeup, and lighting, as well as the assistant of the post producer for color correction and grading.

The cinematographer selects the camera, film stock, lens, filters, etc., to realize the scene in accordance with the intentions of the director. Relations between the cinematographer and director vary; in some instances the director will allow the cinematographer complete independence; in others, the director allows little to none, even going so far as to specify exact camera placement and lens selection. Such a level of involvement is not common once the director and cinematographer have become comfortable with each other; the director will typically convey to the cinematographer what is wanted from a scene visually, and allow the cinematographer latitude in achieving that effect.