{"id":4389,"date":"2022-07-15T14:57:29","date_gmt":"2022-07-15T11:57:29","guid":{"rendered":"http:\/\/www.medialog-bg.com\/?p=4389"},"modified":"2022-07-15T14:57:29","modified_gmt":"2022-07-15T11:57:29","slug":"%d0%b1%d0%be%d1%80%d1%8f%d0%bd%d0%b0-%d0%bc%d0%b0%d1%82%d0%b5%d0%b5%d0%b2%d0%b0-%d0%b1%d1%80%d0%b0%d0%b7%d0%b8%d0%bb%d1%81%d0%ba%d0%be%d1%82%d0%be-%d1%81%d0%b8%d0%bd%d0%b5%d0%bc%d0%b0-%d0%bd%d0%be","status":"publish","type":"post","link":"https:\/\/www.medialog-bg.com\/?p=4389","title":{"rendered":"\u0411\u043e\u0440\u044f\u043d\u0430 \u041c\u0430\u0442\u0435\u0435\u0432\u0430. \u0411\u0440\u0430\u0437\u0438\u043b\u0441\u043a\u043e\u0442\u043e \u0421\u0438\u043d\u0435\u043c\u0430 \u043d\u043e\u0432\u043e \u0438 \u043a\u0440\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u0442\u0430 \u0440\u0435\u0444\u043b\u0435\u043a\u0441\u0438\u044f (\u041f\u0440\u0438\u043d\u043e\u0441\u044a\u0442 \u043d\u0430 \u041f\u0430\u0443\u043b\u043e \u0415\u043c\u0438\u043b\u0438\u043e \u0421\u0430\u043b\u0435\u0441 \u0413\u043e\u043c\u0435\u0441 \u0438 \u0410\u043b\u0435\u043a\u0441 \u0412\u0438\u0430\u043d\u0438)"},"content":{"rendered":"\n<p style=\"text-align:center\" class=\"has-text-color has-vivid-cyan-blue-color\"><strong>\u0411\u043e\u0440\u044f\u043d\u0430 \u041c\u0430\u0442\u0435\u0435\u0432\u0430<\/strong><\/p>\n\n\n\n<p style=\"text-align:center\"><strong>THE BRAZILIAN <em>CINEMA NOVO<\/em> AND THE FILM CRITICS\u2019 REFLEXION. <\/strong><strong>(<\/strong><strong>THE CONTRIBUTION OF PAULO EMILIO\nSALLES GOMES AND ALEX VIANY)<\/strong><\/p>\n\n\n\n<p style=\"text-align:center\" class=\"has-text-color has-vivid-cyan-blue-color\"><strong>Boryana Mateeva<\/strong><\/p>\n\n\n\n<p class=\"has-background has-light-green-cyan-background-color\"><strong>\u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433\/Medialog 11\/2022<\/strong><br><strong>ISSN 2535-0846<\/strong><\/p>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.medialog-bg.com\/wp-content\/uploads\/2022\/07\/06-\u041c\u0430\u0442\u0435\u0435\u0432\u0430_101-116.pdf\"><em>\u041e\u0442\u0432\u043e\u0440\u0435\u0442\u0435 \u0442\u0435\u043a\u0441\u0442\u0430<\/em> \u0411\u043e\u0440\u044f\u043d\u0430 \u041c\u0430\u0442\u0435\u0435\u0432\u0430<\/a><a href=\"https:\/\/www.medialog-bg.com\/wp-content\/uploads\/2022\/07\/06-\u041c\u0430\u0442\u0435\u0435\u0432\u0430_101-116.pdf\" class=\"wp-block-file__button\" download>Download<\/a><\/div>\n\n\n\n<p class=\"has-background has-light-green-cyan-background-color\"><br><strong>How to Cite: <\/strong>\u041c\u0430\u0442\u0435\u0435\u0432\u0430, \u0411\u043e\u0440\u044f\u043d\u0430 (2022). \u0411\u0440\u0430\u0437\u0438\u043b\u0441\u043a\u043e\u0442\u043e <em>\u0421\u0438\u043d\u0435\u043c\u0430 \u043d\u043e\u0432\u043e<\/em> \u0438 \u043a\u0440\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u0442\u0430 \u0440\u0435\u0444\u043b\u0435\u043a\u0441\u0438\u044f (\u041f\u0440\u0438\u043d\u043e\u0441\u044a\u0442 \u043d\u0430 \u041f\u0430\u0443\u043b\u043e \u0415\u043c\u0438\u043b\u0438\u043e \u0421\u0430\u043b\u0435\u0441 \u0413\u043e\u043c\u0435\u0441 \u0438 \u0410\u043b\u0435\u043a\u0441 \u0412\u0438\u0430\u043d\u0438). <em>\u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433<\/em>, \u0431\u0440. 11\/2022, \u0441. 101-116.\u00a0https:\/\/www.medialog-bg.com\/?p=4389 [Mateeva, Boryna. The brazilian Cinema novo and the film critics&#8217; reflexion. (The contribition of Paulo Emilio Salles Gomes and Alex Viany). <em>Medialog, 11\/2022, pp. 101-116<\/em>]<br><\/p>\n\n\n\n<p><strong>\u0420\u0435\u0437\u044e\u043c\u0435:<\/strong> \u0417\u0430 \u0440\u0430\u0437\u0446\u0432\u0435\u0442\u0430 \u043d\u0430 \u0431\u0440\u0430\u0437\u0438\u043b\u0441\u043a\u043e\u0442\u043e \u0421\u0438\u043d\u0435\u043c\u0430 \u043d\u043e\u0432\u043e \u0438 \u0441\u0432\u0435\u0442\u043e\u0432\u043d\u043e\u0442\u043e \u043c\u0443\u043f\u0440\u0438\u0437\u043d\u0430\u043d\u0438\u0435 \u0432 \u043d\u0430\u0447\u0430\u043b\u043e\u0442\u043e \u043d\u0430 60-\u0442\u0435 \u0433\u043e\u0434\u0438\u043d\u0438 \u0444\u0443\u043d\u0434\u0430\u043c\u0435\u043d\u0442\u0430\u043b\u043d\u0430 \u0440\u043e\u043b\u044f \u0438\u0437\u0438\u0433\u0440\u0430\u0432\u0430\u0442 \u0434\u0432\u0430\u043c\u0430 \u0433\u043e\u043b\u0435\u043c\u0438\u043a\u0440\u0438\u0442\u0438\u0446\u0438 \u0438 \u0438\u0441\u0442\u043e\u0440\u0438\u0446\u0438 \u043d\u0430 \u043a\u0438\u043d\u043e\u0442\u043e \u041f\u0430\u0443\u043b\u043e \u0415\u043c\u0438\u043b\u0438\u043e \u0421\u0430\u043b\u0435\u0441 \u0413\u043e\u043c\u0435\u0441 \u0438 \u0410\u043b\u0435\u043a\u0441 \u0412\u0438\u0430\u043d\u0438. \u0421 \u0435\u0440\u0443\u0434\u0438\u0446\u0438\u044f\u0442\u0430 \u0441\u0438, \u043f\u043e\u0437\u043d\u0430\u043d\u0438\u044f\u0442\u0430 \u0441\u0438 \u0437\u0430 \u0441\u0432\u0435\u0442\u043e\u0432\u043d\u043e\u0442\u043e \u043a\u0438\u043d\u043e, \u0430\u043a\u0442\u0438\u0432\u043d\u0430\u0442\u0430 \u0441\u0438 \u043a\u0440\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0430 \u0434\u0435\u0439\u043d\u043e\u0441\u0442 \u0438 \u201e\u0431\u043e\u0440\u0431\u0435\u043d\u0430\u0442\u0430 \u0441\u0438\u043d\u0435\u0444\u0438\u043b\u0438\u044f\u201c \u0442\u0435 \u0432\u044a\u0437\u043f\u0438\u0442\u0430\u0432\u0430\u0442 \u0438 \u043d\u0430\u0441\u043e\u0447\u0432\u0430\u0442 \u043f\u0440\u043e\u0445\u043e\u0436\u0434\u0430\u0449\u0438\u0442\u0435 \u0440\u0435\u0436\u0438\u0441\u044c\u043e\u0440\u0438 \u0432 \u0442\u044a\u0440\u0441\u0435\u043d\u0435 \u043d\u0430 \u043d\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u0430 \u0438\u0434\u0435\u043d\u0442\u0438\u0447\u043d\u043e\u0441\u0442 \u0432 \u0441\u044a\u0437\u0432\u0443\u0447\u0438\u0435 \u0441 \u0440\u0435\u0432\u043e\u043b\u044e\u0446\u0438\u043e\u043d\u043d\u043e\u0442\u043e \u043e\u0431\u043d\u043e\u0432\u043b\u0435\u043d\u0438\u0435 \u043d\u0430 \u043a\u0438\u043d\u043e\u0435\u0437\u0438\u043a\u0430, \u0434\u043e\u0448\u043b\u043e \u043f\u043e \u043b\u0438\u043d\u0438\u044f \u043d\u0430 \u043d\u0435\u043e\u0440\u0435\u0430\u043b\u0438\u0437\u043c\u0430 \u0438 \u041d\u043e\u0432\u0430\u0442\u0430 \u0432\u044a\u043b\u043d\u0430. \u041f\u0440\u0438\u043d\u043e\u0441\u044a\u0442 \u0438\u043c \u0437\u0430 \u0437\u0430\u043f\u043e\u0437\u043d\u0430\u0432\u0430\u043d\u0435 \u043d\u0430 \u043e\u0431\u0449\u0435\u0441\u0442\u0432\u043e\u0442\u043e \u0441 \u0444\u0438\u043b\u043c\u043e\u0432\u043e\u0442\u043e \u043d\u0430\u0441\u043b\u0435\u0434\u0441\u0442\u0432\u043e, \u043d\u043e\u0432\u0438\u0442\u0435 \u0444\u0438\u043b\u043c\u043e\u0432\u0438 \u0442\u0435\u0447\u0435\u043d\u0438\u044f, \u0441\u044a\u0437\u0434\u0430\u0432\u0430\u043d\u0435\u0442\u043e \u043d\u0430 \u043c\u043e\u0434\u0435\u0440\u043d\u0430 \u0444\u0438\u043b\u043c\u043e\u0442\u0435\u043a\u0430, \u0438\u043d\u0441\u0442\u0438\u0443\u0446\u0438\u043e\u043d\u0430\u043b\u0438\u0437\u0438\u0440\u0430\u043d\u0435\u0442\u043e \u043d\u0430 \u043a\u0438\u043d\u043e\u043e\u0431\u0440\u0430\u0437\u043e\u0432\u0430\u043d\u0438\u0435\u0442\u043e \u0438 \u0441\u044a\u0437\u0434\u0430\u0432\u0430\u043d\u0435\u0442\u043e \u043d\u0430\u0439-\u0441\u0442\u0430\u0440\u0438\u044f \u0434\u043d\u0435\u0441 \u043a\u0438\u043d\u043e\u0444\u0435\u0441\u0442\u0438\u0432\u0430\u043b \u0432 \u0441\u0442\u0440\u0430\u043d\u0430\u0442\u0430 \u0435 \u043d\u0435\u043e\u0441\u043f\u043e\u0440\u0438\u043c.<\/p>\n\n\n\n<p><strong>\u041a\u043b\u044e\u0447\u043e\u0432\u0438 \u0434\u0443\u043c\u0438:<\/strong> \u0421\u0438\u043d\u0435\u043c\u0430 \u043d\u043e\u0432\u043e, \u041f\u0430\u0443\u043b\u043e \u0415\u043c\u0438\u043b\u0438\u043e \u0421\u0430\u043b\u0435\u0441 \u0413\u043e\u043c\u0435\u0441, \u0410\u043b\u0435\u043a\u0441 \u0412\u0438\u0430\u043d\u0438, \u0444\u0440\u0435\u043d\u0441\u043a\u0430 \u041d\u043e\u0432\u0430 \u0432\u044a\u043b\u043d\u0430, \u0438\u0442\u0430\u043b\u0438\u0430\u043d\u0441\u043a\u0438 \u043d\u0435\u043e\u0440\u0435\u0430\u043b\u0438\u0437\u044a\u043c<\/p>\n\n\n\n<p><strong>Abstract:<\/strong> In the 50-ies and beginning of the 60-ies two great filmcritics and historians Paulo Emilio Salles Gomes and Alex Viany have a fundamental impact on the Brazilian Cinema novo and influence its flourishment and world recognition. With their erudition, knowledge of world cinema processes, huge critic\u2019s activity and \u201cmilitant cinephily\u201d they educated and guided the young directors towards professional achievement and the search of national identity applying originally the lessons of the Italian neorealism and the French New wave. Their contribution to the revelation of the national filmlegacy, the new film movements, the foundation of a modern Film archive, the inauguration of the film education in Brazil and the oldest film festival inthe country is undeniable.<\/p>\n\n\n\n<p><strong>\u041a\u0435\u0443words: <\/strong>Cinema novo, Paulo Emilio Salles Gomes, Alex Viany, French New Wave, Italian neorealism <\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"has-background has-light-green-cyan-background-color\"><strong>\u0418\u0437\u043f\u043e\u043b\u0437\u0432\u0430\u043d\u0430\n\u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u0430<\/strong><\/p>\n\n\n\n<p><strong>DE ANDRADE<\/strong>,\nJoaquim Pedro and <strong>VIANY<\/strong>, Alex\n(1966). Criticism and Self-Criticism. Johnson, Randal and Stam, Robert\n(editors) (1995). <em>Brazilian Cinema.<\/em>\nNew York: Columbia University Press, p.73.<\/p>\n\n\n\n<p><strong>GONZAGA,\n<\/strong>Adhemar<strong> e SALLES GOMES, <\/strong>Paulo Emilio (1966)<strong>. <\/strong><em>70 Anos de Cinema\nBrasileiro<\/em>. Editora Express\u00e3o Cultura.<\/p>\n\n\n\n<p><strong>JOHNSON<\/strong>, Randal and <strong>STAM<\/strong>,\nRobert (editors) (1995). <em>Brazilian Cinema<\/em>.\nNew York: Columbia University Press.<\/p>\n\n\n\n<p><strong>MENDES<\/strong>, Adilson In\u00e1cio (2012). <em>A\ncr\u00edtica viva de Paulo Emilio<\/em>. (Tese de\ndoutoramento apresentada ao Programa de Meios e Processos Audiovisuais do\nDepartamento de Cinema, R\u00e1dio e Televis\u00e3o da Escola de Comunica\u00e7\u00f5es e Artes). Sao Paulo: Universidade de S\u00e3o Paulo..<\/p>\n\n\n\n<p><strong>ROCHA<\/strong>, Glauber (1981). <em>Revoluc\u00e3o\ndo Cinema Novo<\/em>. Rio de Janeiro: Alhambra\/ Embrafilme.<\/p>\n\n\n\n<p><strong>ROCHA<\/strong>, Glauber (2003). <em>Revis\u00e3o\ncr\u00edtica do cinema brasileiro<\/em>. Sao Paulo: Casac&amp;Naify.<\/p>\n\n\n\n<p><strong>SALLES\nGOMES, <\/strong>Paulo Emilio (1971). <em>Jean Vigo<\/em>. Berkeley and Los Angeles:\nUniversity of California Press.<\/p>\n\n\n\n<p><strong>SALLES\nGOMES, <\/strong>Paulo Emilio (1973). Cinema: A\nTrajectory within Underdevelopment. Johnson, Randal and Stam, Robert (editors)\n(1995). <em>Brazilian Cinema<\/em>. New York:\nColumbia University Press, p. 244. <\/p>\n\n\n\n<p><strong>SALLES\nGOMES<\/strong>, Paulo Emilio (1974). <em>Umberto Mauro.<\/em> Cataguases, Cinearte.\nPerspectiva.<\/p>\n\n\n\n<p><strong>SALLES\nGOMES, <\/strong>Paulo Emilio (1982). <em>Paulo Em\u00edlio: cr\u00edtica no Suplemento\nLiter\u00e1rio<\/em>. Embrafilme\/Editora Paz e Terra.<\/p>\n\n\n\n<p><strong>SALLES\nGOMES, <\/strong>Paulo Emilio<strong>, CONDE, <\/strong>Maite,<strong> DENNISON, <\/strong>Stephanie\n(2018). <em>Paulo Em\u00edlio Salles Gomes: on\nBrazil and global cinema<\/em>. Cardiff : University of Wales Press<\/p>\n\n\n\n<p><strong>TRUFFAUT<\/strong>,Fran\u00e7ois\n(1954). Petit journal intime du cin\u00e9ma. <em>Cahiers\ndu Cin\u00e9ma, <\/em>t. VII, N 37<em>.<\/em><\/p>\n\n\n\n<p><strong>SIMONARD<\/strong>, Pedro (2006).<em> A\nGera\u00e7\u00e3o do Cinema Novo. Para uma&nbsp;\nantropologia do cinema.<\/em> Rio de Janeiro: Mauad X. <\/p>\n\n\n\n<p><strong>VIANY<\/strong>, Alex (1987). <em>Introdu\u00e7\u00e3o\nao Cinema Brasileiro<\/em>. Rio de Janeiro: Embrafilme\/Alhambra.<\/p>\n\n\n\n<p><strong>VIANY<\/strong>, Alex (1999). <em>OProcesso do cinema novo<\/em>. Aeroplano Editora.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"has-background has-pale-cyan-blue-background-color\"><strong>\u0411\u043e\u0440\u044f\u043d\u0430 \u041c\u0430\u0442\u0435\u0435\u0432\u0430<\/strong> \u0435 \u0444\u0438\u043b\u043c\u043e\u0432 \u043a\u0440\u0438\u0442\u0438\u043a \u0438 \u043f\u0440\u0435\u043f\u043e\u0434\u0430\u0432\u0430\u0442\u0435\u043b \u043f\u043e \u0418\u0441\u0442\u043e\u0440\u0438\u044f \u043d\u0430 \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0430\u0442\u0430 \u0438 \u0441\u0432\u0435\u0442\u043e\u0432\u043d\u0430\u0442\u0430 \u0430\u043d\u0438\u043c\u0430\u0446\u0438\u044f \u0432 \u041d\u0411\u0423 \u0438 \u0418\u0441\u0442\u043e\u0440\u0438\u044f \u043d\u0430 \u0438\u0431\u0435\u0440\u043e-\u0430\u043c\u0435\u0440\u0438\u043a\u0430\u043d\u0441\u043a\u043e\u0442\u043e \u043a\u0438\u043d\u043e \u0432 \u041d\u0410\u0422\u0424\u0418\u0417. \u0420\u0430\u0431\u043e\u0442\u0438\u043b\u0430 \u0435 \u0432 \u0411\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0430 \u043d\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u0430 \u0444\u0438\u043b\u043c\u043e\u0442\u0435\u043a\u0430 \u043a\u0430\u0442\u043e \u0441\u044a\u0441\u0442\u0430\u0432\u0438\u0442\u0435\u043b \u043d\u0430 \u043c\u0435\u0441\u0435\u0447\u043d\u0430\u0442\u0430 \u043f\u0435\u0447\u0430\u0442\u043d\u0430 \u043f\u0440\u043e\u0433\u0440\u0430\u043c\u0430 \u0438 \u043e\u0442\u0433\u043e\u0432\u043e\u0440\u0435\u043d \u043f\u0440\u043e\u0433\u0440\u0430\u043c\u0430\u0442\u043e\u0440 \u043d\u0430 \u0444\u0438\u043b\u043c\u043e\u0442\u0435\u0447\u043d\u043e \u043a\u0438\u043d\u043e \u201e\u041e\u0434\u0435\u043e\u043d\u201d. \u0418\u043c\u0430 \u0441\u0442\u043e\u0442\u0438\u0446\u0438 \u043f\u0443\u0431\u043b\u0438\u043a\u0430\u0446\u0438\u0438 \u0437\u0430 \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u043e\u0442\u043e \u0438 \u0447\u0443\u0436\u0434\u0435\u0441\u0442\u0440\u0430\u043d\u043d\u043e \u043a\u0438\u043d\u043e \u0432 \u0441\u043f\u0435\u0446\u0438\u0430\u043b\u0438\u0437\u0438\u0440\u0430\u043d\u0438\u044f \u043f\u0435\u0447\u0430\u0442. \u0410\u0432\u0442\u043e\u0440 \u043d\u0430 \u043a\u043d\u0438\u0433\u0430\u0442\u0430 \u201e\u0410\u043d\u0438\u043c\u0430.bg\u201d, \u0438\u0437\u0434\u0430\u043d\u0438\u0435 \u043d\u0430 \u041d\u0411\u0423, 2021. \u0421\u0446\u0435\u043d\u0430\u0440\u0438\u0441\u0442 \u043d\u0430 4 \u0434\u043e\u043a\u0443\u043c\u0435\u043d\u0442\u0430\u043b\u043d\u0438 \u0444\u0438\u043b\u043c\u0430. \u0414\u043e\u043a\u0442\u043e\u0440\u0430\u043d\u0442 \u043d\u0430 \u0441\u0430\u043c\u043e\u0441\u0442\u043e\u044f\u0442\u0435\u043b\u043d\u0430 \u043f\u043e\u0434\u0433\u043e\u0442\u043e\u0432\u043a\u0430.<\/p>\n\n\n\n<p class=\"has-background has-pale-cyan-blue-background-color\"><strong>Boryana Mateeva<\/strong> is a film critic and lecturer at NBU and NATFA. Research areas: animation and Latin-American cinema. She worked at the Bulgarian National Film Archive as a film expert, compiler and editor of the monthly program and head of programming of the <em>Odeon<\/em> cinema. Author of hundredsof articles on the Bulgarian and foreign cinema. Author of the book \u201eAnima.bg\u201d, edited by NBU, 2021. Scriptwriter of 4 documentaries. Independent PhD student.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u0411\u043e\u0440\u044f\u043d\u0430 \u041c\u0430\u0442\u0435\u0435\u0432\u0430 THE BRAZILIAN CINEMA NOVO AND THE FILM CRITICS\u2019 REFLEXION. (THE CONTRIBUTION OF PAULO EMILIO SALLES GOMES AND ALEX VIANY) Boryana Mateeva \u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433\/Medialog 11\/2022ISSN 2535-0846 How to Cite: \u041c\u0430\u0442\u0435\u0435\u0432\u0430, \u0411\u043e\u0440\u044f\u043d\u0430 (2022). \u0411\u0440\u0430\u0437\u0438\u043b\u0441\u043a\u043e\u0442\u043e \u0421\u0438\u043d\u0435\u043c\u0430 \u043d\u043e\u0432\u043e \u0438 \u043a\u0440\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u0442\u0430 \u0440\u0435\u0444\u043b\u0435\u043a\u0441\u0438\u044f (\u041f\u0440\u0438\u043d\u043e\u0441\u044a\u0442 \u043d\u0430 \u041f\u0430\u0443\u043b\u043e \u0415\u043c\u0438\u043b\u0438\u043e \u0421\u0430\u043b\u0435\u0441 \u0413\u043e\u043c\u0435\u0441 \u0438 \u0410\u043b\u0435\u043a\u0441 \u0412\u0438\u0430\u043d\u0438). \u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433, \u0431\u0440. 11\/2022, \u0441. 101-116.\u00a0https:\/\/www.medialog-bg.com\/?p=4389 [Mateeva, Boryna. The [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4389","post","type-post","status-publish","format-standard","hentry","category-1"],"_links":{"self":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts\/4389","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4389"}],"version-history":[{"count":1,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts\/4389\/revisions"}],"predecessor-version":[{"id":4408,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts\/4389\/revisions\/4408"}],"wp:attachment":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4389"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4389"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4389"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}