DOCSLIB.ORG

Banned Films from Czechoslovakia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Banned Films from Czechoslovakia Celebrate Czech and Slovak century www.czechandslovakcentury.com Banned films from Czechoslovakia In 2018, the citizens of the Czech and Slovak Republics mark a date that invites them to celebrate the 100 year anniversary of their common independent state – the Czechoslovak Republic. During this past century together, the Czechs and Slovaks have been witness to many great stories that will always hold a special place in their history. It all began in 1918, when both nations’ shared desire for a sovereign state became a reality. The January 5th this year marked the 50th anniversary of the beginning of the Prague Spring. The Prague Spring lasted from 5 January until 21 August 1968. In the Czechoslovakia the thaw began with the election of the Slovak-born Alexander Dubček (1921–1992) as First Secretary of the Communist Party. Consequently, a programme of political change was announced, censorship was abandoned, and publications condemning the policies of the Communist Party appeared in the press. However, Dubček’s reforms were not destined to last. On 20–21 August 1968, two thousand tanks sent by the Warsaw Pact countries moved into Czechoslovakia. The Prague Spring was over. Although the period was short-lived, the films produced in this period are living icons of this progressive impulse. During that time, filmmakers overtly subverted the social-realist genre imposed on them while still working under the auspices of the state. As expected, many of these films were swiftly banned after completion, only getting released locally after the Velvet Revolution. Join us for a selection of four of these savagely funny and defiant films – Larks on a String (1969), Joke (1969), All My Countrymen (1968) and Ear (1970), — which stand as enduring testaments to the power and necessity of dissident art. Celebrate Czech and Slovak century www.czechandslovakcentury.com PROGRAMME The films will be screened in Czech with English subtitles each Thursday of October 2018 at 17:30 at Cinema of Martynas Mažvydas National Library of Lithuania. Date Time Place Film 4th of October 5:30 p.m. Cinema „Larks on a String“ (Skřivánci na niti) Dir. J. Menzel, 1969, 90 min., Czechoslovakia 11th of October 5:30 p.m. Cinema „Pokštas“ (Žert) Dir. J. Jireš, 1969, 77 min., Czechoslovakia 18th of October 5:30 p.m. Cinema „All My Countrymen“ (Všichni dobří rodáci) Dir. Vojtěch Jasný, 1968, 115 min., Czechoslovakia 25th of October 5:30 p.m. Cinema „Ear“ (Ucho) Dir. Karel Kachyňa, 1970, 91 min., Czechoslovakia Celebrate Czech and Slovak century www.czechandslovakcentury.com October 4th, 2018 at 5:30 p.m. Larks on a String (Skřivánci na niti) dir. Jiří Menzel, 1969, 90 min., Czechoslovakia The film Larks on a String was banned by the Czechoslovak government. It saw release in 1990 after the fall of the Communist regime. It tells the stories of various characters considered bourgeois by Czechoslovakia's communist government in the 1950s, who have been forced to work in a junkyard for the purposes of re-education. It won the Golden Bear at the 40th Berlin International Film Festival. Set in the late 1950s, the film concerns the treatment of suspect "bourgeois elements”, a professor, a saxophonist, and a milkman, who are put to work in a junkyard for rehabilitation. Celebrate Czech and Slovak century www.czechandslovakcentury.com October 11th, 2018 at 5:30 p.m. Joke (Žert) dir. J. Jireš, 1969, 77 min., Czechoslovakia The film Joke is considered one of the last films of the Czech New Wave movement. Based on Milan Kundera's novel of the same name, the Joke tells the story of Ludvík Jahn, a man expelled from the Czechoslovak Communist Party for an idle joke to his girlfriend, and the revenge he later seeks through adultery. The film was produced during the political liberalization of the 1968 Prague Spring and contains many scenes which satirize and criticize the country's communist leadership. Celebrate Czech and Slovak century www.czechandslovakcentury.com October 18th, 2018 at 5:30 p.m. All My Countrymen (Všichni dobří rodáci), dir. Vojtěch Jasný, 1968, 115 min., Czechoslovakia Almost a legendary film directed by Vojtěch Jasný shows a story taking place in a picturesque Moravian village in May 1945. People are simply enjoying those beautiful days of their lives. They all meet in a pub drink wine and enjoy the music. However these carefree days are coming to an end in February 1948 when the village gets divided into two rivalled parts. Director V. Jasný had been collecting information for almost 20 years in order to provide us with this narrative. The film is considered to have one of the deepest stories in the history of Czechoslovakian cinematography. During communism the existence of this movie was carefully hidden, but transmitted among the people on more than 100 videotapes. Celebrate Czech and Slovak century www.czechandslovakcentury.com October 25th, 2018 at 5:30 p.m. The Ear (Ucho), Dir. Karel Kachyňa, 1970, 91 min., Czechoslovakia This highly-charged political satire from Czechoslovakia was banned for 20 years. It is the chronicle of a miserable marriage between a provincial bureaucrat and the boozy daughter of a pub-owner who find trouble when they learn through the grapevine that one of the husband's superior's has been arrested. Now the husband fears that a major purge is in the offing. Their fears are not allayed by the fact that their house keys have disappeared, nor can they shake the feeling that someone is watching them. Things don't get any better when they finally get into the house and find signs that someone has been in there. .
Load more

Recommended publications
  • In 1975, Seven Years After the Warsaw Pact Invasion of Czechoslovakia, Milan Kundera Left His Country for France
    KUNDERA’S NOVELS IN THE CONTEXT OF TRANSLATION Jan RUBES In 1975, seven years after the Warsaw Pact invasion of Czechoslovakia, Milan Kundera left his country for France. This was at the time when Husak’s power made it easer to get rid of “anticommunist elements”. Kundera had chosen France for several reasons. First, he spoke French relatively well. In the early sixties, he translated and published an anthology of Apollinaire’s poetry. Secondly, his books, and especially “The Joke”, published in France, had been very successful. Thirdly, he was, like most Czech intellectuals, attached to French cultural heritage. Upon his arrival in France, Kundera had been known as the author of the novel “The Joke” (1968), a book of short stories “Laughable Loves” (1970), and an other novel “Life is Elsewhere” (1973). His fourth book, “The Farewell Waltz” was published in 1976, some months after his arrival in France. The interest in Kundera and the success of his books in France seem easy to comprehend. Since 1966 Czechoslovak intellectuals tried to integrate new democratic elements in the political practice. In the beginning of 1968 the communist party, which until then had rejected any attempt at post Stalinist reforms, became the initiator of the social transformation process. The role of communist intellectuals was essential : whereas they had legitimized the cultural policy of the party since the 50s, suddenly they became, in the context of liberalization, the most dynamic group in society. In France, the situation of a number of very well known intellectuals who joined the party after World War Two was similar.
    [Show full text]
  • Milan Kundera's the Joke." Philosophy and Literature 34, No
    University of Richmond UR Scholarship Repository Languages, Literatures, and Cultures Faculty Languages, Literatures, and Cultures Publications 4-2010 Baring the Brain as well as the Soul: Milan Kundera's The okJ e Yvonne Howell University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/mlc-faculty-publications Part of the Russian Literature Commons Recommended Citation Howell, Yvonne. "Baring the Brain as Well as the Soul: Milan Kundera's The Joke." Philosophy and Literature 34, no. 1 (April 2010): 201-17. doi:10.1353/phl.0.0085. This Article is brought to you for free and open access by the Languages, Literatures, and Cultures at UR Scholarship Repository. It has been accepted for inclusion in Languages, Literatures, and Cultures Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Yvonne Howell BARING THE BRAIN AS WELL AS THE SOUL: MILAN KUNDERA’s THE JOKE I ilan Kundera’s first major novel, The Joke, was written in M1961–1965, before he made the decision to leave Czechoslovakia and take up residency as a political exile in France.1 With a few note- worthy exceptions, critics of the work focused on its political message in a Cold War context. This was easy to do: its plot revolves around an avid young Czech communist (Ludvik), who writes an ironic postcard to his overly earnest girlfriend while she is away at a political training camp. The year is 1950, and among intellectuals, enthusiasm for a new era of Soviet-mediated socialism is a genuine response to the chaotic disintegration of old certainties after the Nazi occupation of the coun- try.
    [Show full text]
  • Excerpt from Milan Kundera's the Joke Overview Kundera's Novel
    Excerpt from Milan Kundera’s The Joke Overview Kundera’s novel explores the consequences of a stupid joke, which Ludvik sends to his college girlfriend Marketa on a postcard. Both Ludvik and Marketa are enthusiastic supporters of the socialist revolution in Czechoslovakia, but when Marketa decides to spend two weeks at a Party training camp in the summer instead of with Ludvik in Prague, Ludvik is hurt and angry. To make Marketa mad, he sends her a joke on a postcard (“Optimism is the opium of the people! A healthy atmosphere stinks of stupidity! Long live Trotsky!”), but the joke is taken seriously by socialist authorities who label Ludvik a counter-revolutionary. They kick him out of the university and sentence him to hard labor in an ideological re- education camp. Read the excerpt from the novel in which Kundera describes Ludvik’s love for Marketa, his complicated relationship to the socialist revolution, and the joke that unintentionally has dire consequences for Ludvik’s life. Excerpt The events leading to my first major disaster… might well be recounted in a detached, even light-hearted tone: it all goes back to my fatal predilection for silly jokes and Marketa’s fatal inability to grasp any joke whatsoever. Marketa was the type of woman who takes everything seriously (which made her totally at one with the spirt of the age)… Everyone at the university like her, and we all made more or less serious passes at her, which didn’t stop us (at least some of us) from poking gentle, perfectly innocent fun at her.
    [Show full text]
  • Milan Kundera's Slowness
    Vol. 1, No. 2 Review of European Studies Milan Kundera’s Slowness – Making It Slow Tim Jones PhD Candidate School of Literature and Creative Writing, Faculty of Arts and Humanities University of East Anglia Norwich, Norfolk, NR4 7TJ, England Tel: 44-798-087-7751 E-mail: [email protected] Abstract The Czechoslovak author Milan Kundera’s first novel in French, Slowness, compares the heady speed of contemporary life unfavourably with the slowness of the eighteenth-century, epitomised for Kundera’s narrator by Vivant Denon’s novella No Tomorrow. A deconstruction of Slowness’ arguments reveals that its narrator is complicit with the trends he decries and so his own rhetoric is as malignly influenced by speed as that of the twentieth-century characters he denounces. His representations of both No Tomorrow and the eighteenth-century phenomenon of libertinism are little more than deceptively happy soundbites. By glorifying the qualities of slowness but failing to demonstrate them, however, the novel encourages a transformation within its implied ideal reader that allows her to rise above the problematic conceits of its narrator and make of his work a genuinely slow text. Keywords: Milan Kundera, Slowness, Vivant Denon, No Tomorrow, Point de Lendemain, Libertinism 1. Introduction Francois Ricard’s postscript to the French 1998 edition of Milan Kundera’s Slowness documents the ‘two traits’ (Kundera, 1998: 185) that separate the work from the artistic norms of the six Czech novels that Kundera had written in the previous decades, namely its remarkable brevity and the simplicity of its structure. Despite these obvious variations, to which we can add the use of a language that Kundera had previously reserved for his non-fiction, Slowness continues his familiar project demonstrated throughout his earlier Czech novels and specifically attested to in both the fictional The Unbearable Lightness of Being and the theoretical The Art of the Novel, that of investigating ‘the trap the world has become’ (Kundera, 1984/1994: 215; Kundera, 1986/1988: 26).
    [Show full text]
  • The Cold War in Europe--Berlin, Prague Instructors (Director and Co-Director): J.M
    Summer Study Abroad: The Cold War in Europe--Berlin, Prague Instructors (Director and Co-Director): J.M. van der Laan, Katherine McCarthy Syllabus and Program Schedule Date Day Place classes/activities Due dates June 3 Sat Chicago June 4 Sun Arrive PM: check into apartments; Orientation with AIFS staff; Berlin mandatory student meeting; welcome dinner (AIFS) Week 1--Cold War begins: From Potsdam to Berlin Airlift and Communization of E Europe, 1945-53 June 5 Mon Berlin No classroom AM: bus tour of Berlin (AIFS) PM: walking tour 1--Prenzlauer Berg June 6 Tues Berlin Classroom: 9-12 AM: JV--Kunze, The Wonderful Years KM--1945: Berlin at war's end and Potsdam treaty PM: walking tour 2--Berlin Mitte, Jewish Quarter June 7 Wed Pots- No classroom: All day Excursion to Potsdam dam Potsdam, Sanssouci, Cecilienhof tour, Glienicke Bridge ("bridge of spies") (AIFS) June 8 Thurs Berlin Classroom: 9-12 afternoon free KM--Origins of Cold War, Berlin Blockade and the division of Germany JV--Kunze, The Wonderful Years June 9 Fri Berlin Classroom: 9-12 afternoon free JV--Kunze, The Wonderful Years KM--"Communizing" Eastern Europe from 1948 Czechoslovak coup to 1953 Berlin Uprising June 10 Sat free suggestions for optional excursions: Steamboat ride on Havel lakes (Sieben-Seen Rundfahrt); or day-trip to Hamburg, Dresden, or Leipzig June 11 Sun free Week 2--From the Secret Speech to the Thaw and its limits: 1956-1968 June 12 Mon Berlin Classroom: 9-12 Journal/daybook AM: JV--The Lives of Others (film) June 3-11 KM--Khrushchev’s Secret Speech, the Thaw and
    [Show full text]
  • Milan Kundera's the Joke 65 FOLKLORICA 2010, Vol. XV
    “An invincible Czech horde”: Milan Kundera’s The Joke 65 “An invincible Czech horde”: Political and Social Implications of Moravian Folklore in Milan Kundera’s The Joke. Edwige Tamalet Talbayev Department of French Yale University New Haven, CT, USA Abstract This article studies the treatment of Moravian folk music in Milan Kundera´s 1967 first novel, The Joke (Žert). Reconstructed as the performative practice through which timeless collective memory is enacted, folklore appears as a vector of resistance to state-sponsored Communism in the post-utopian context of the novel. By probing the limitations and potentialities of this vision, this argument sheds light on the complex intersections of folklore, tradition, and collective identity in Communist Czechoslovakia and paves the way for a critical consideration of identitarian discourses based on a mythical reconstruction of the past. “Communism was modernity in its most determined mood and most decisive posture; modernity streamlined, purified of the last shred of the chaotic, the irrational, the spontaneous, the unpredictable.” [Zygmunt Bauman 1992: 167] Milan Kundera’s first novel, Žert (The Joke), originally appeared in Prague in 1967 under the auspices of the publishing house of the Union of Czechoslovak Writers, Československ ý Spisovatel.(1) Set in 1965 during a period of relative apathy, the novel recounts the misfortunes of the hero, Ludvík Jahn, in the wake of an innocuous joke. In order to impress a girl, the young student, an ardent Communist at heart, sends her an insolent note deriding state-sponsored ideology and purporting to reject it in favor of discredited Trotskyist views. Unfortunately, the note is not treated as a joke.
    [Show full text]
  • A Postcolonial Reading on Milan Kundera's the Joke International
    INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, LITERATURE Int.J.Eng.Lang.Lit & Trans.Studies Vol.2.Issue. 3.2015 (July-Sep) AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in KY PUBLICATIONS RESEARCH ARTICLE Vol.2. Issue 3., 2015 (July-Sept.) THE CHANGING FACES OF IDEOLOGY: A POSTCOLONIAL READING ON MILAN KUNDERA’S THE JOKE CERIN BABU Guest lecturer, Vimala College, Thrissur, Kerala Kombara House, Shanti Nagar Kuttichira Road, Ollukkara Kalathode, Thrissur, Kerala ABSTRACT In this postcolonial era, it is never inappropriate to say that terminologies, for instance, Empire and its colony, colonizer and the ‘other’ etc. are all things of the past. Nevertheless it is only proper to mention that they have never fully vanished. Heated discussions, debates, theories and criticism on the topic of colonialism during these postcolonial times itself is a proof for the existence of such a phenomenon called colonialism; a process similar to that in the past yet in a whole new avatar of economic policies, political ideologies and thought processes. Discussing apparently the personal journeys and destinies of its four major characters, Milan Kundera’s ‘not so political novel’, The Joke, connotes the CERIN BABU existence of such a seemingly unassuming yet dangerous colonizer (adorned in the new garb of an ideology). The renowned Czech writer and a much celebrated author Milan Kundera makes it a point that his novels are not mere political novels but much more. Chorusing his opinion, this paperattempts at unveiling this ‘more’ factor of the 1967 novel,The Joke. Keeping in mind the political and philosophical implications in the novel, this paper attempts to discuss the possibilities of analysing Milan Kundera’s The Joke as a postcolonial text.
    [Show full text]
  • Thesis Tim Jones
    Slowness , Identity and Ignorance : Milan Kundera’s French Variations Tim Jones Thesis submitted 2012 for the degree of Doctor of Philosophy: School of Literature, Drama and Creative Writing, University of East Anglia 2 Abstract This thesis explores in detail three academically neglected novels by Milan Kundera: Slowness (1995), Identity (1998) and Ignorance (2002). Originally written in French, the author’s second language, after six novels, a short-story collection and a play originally written in Czech, these texts are often bracketed off from the rest of his writing and seen as something of an inferior addendum. This is despite clear thematic similarities that cross the linguistic divide and that I demonstrate here are of central significance to the author’s entire novelistic project. This exploration not only reveals that these three French novels place in the foreground themes that have rippled in and out of focus across Kundera’s earlier Czech work and so are of central importance to Kundera as a novelist. It also shows that the lateness of the variations on the themes of slowness, identity and ignorance within these three French novels does not hold everything in common with the lateness that Adorno locates in late Beethoven. It is true that like late Beethoven, Kundera’s late variations on these themes demonstrate the manoeuvres of an oeuvre sensing its death across the horizon. But through the specific nature of the late variations on slowness, identity and ignorance, the oeuvre works hard to pull its readers down into the textual spaces of these three late novels with a fresh urgency, rather than truculently push them away, so that Kundera’s audience might be adequately prepared to continue its own voyages once the oeuvre has played its final notes.
    [Show full text]
  • Borat and the Problem of Parody Bronwen Low
    Taboo: The Journal of Culture and Education Volume 11 | Issue 1 Article 6 December 2007 Borat and the Problem of Parody Bronwen Low David Smith Follow this and additional works at: https://digitalcommons.lsu.edu/taboo Recommended Citation Low, B., & Smith, D. (2017). Borat and the Problem of Parody. Taboo: The Journal of Culture and Education, 11 (1). https://doi.org/ 10.31390/taboo.11.1.06 Taboo,Bronwen Spring-Summer-Fall-Winter Low & David Smith 2007 27 Borat and the Problem of Parody Bronwen Low & David Smith Why do we laugh at Borat and what are we laughing at? A reading of some of the many reviews of the film suggests that these are complicated questions. Borat has garnered overwhelmingly positive reviews, scoring a 91% rating on the Rotten Tomatoes’ compilation of the perspectives of 178 critics: the site declares the criti- cal consensus on the film to be that it is “offensive in the funniest possible way” (rottentomatoes.com). Individual film critics have called it the “funniest film of the year,” “convulsively and savagely funny,” and “riotously uproarious.” Strauss (2006) of Rolling Stone calls the film “one of the greatest comedies of the last de- cade and perhaps a whole new genre of film” (n.p.), suggesting that part of Borat’s appeal lies in its complex, even elusive, relation to genre. Other film critics concur. For instance, Covert (2006) calls it “a gene-splice of Andy Kaufman’s high-wire character humour and caught-on-the street pranks from Punk’d” (n.p.), while Burr of the Boston Globe describes the film as “Jackass with a brain and Mark Twain with full frontal male nudity” (2006, n.p), exclaiming “this is Candid Camera as confrontational art.” Alexander (2006) also suggests that a new genre has been birthed which she names “evil comedy” (n.p.).
    [Show full text]
  • Life Is Elsewhere Pdf, Epub, Ebook
    LIFE IS ELSEWHERE PDF, EPUB, EBOOK Milan Kundera | 272 pages | 04 Sep 2000 | FABER & FABER | 9780571197774 | English | London, United Kingdom Life is Elsewhere PDF Book I query us who own Christ as our life. And the big gray machines moved forward, gobbling up the jungle with their iron teeth, chewing it clean of its life and all its living things. He is more specific in other stories, because his best humor always seems to be rooted in authority situations: in. His laughter had the self-assuredness of someone at ease with the world, as he sank into the chair by a glass coffee table […]. Jaromil leaves no legacy behind, despite all his hard work and his many talents. Overview The author initially intended to call this novel The Lyrical Age. She tracks everything about him, from his eating schedule to his bowel movements. It always has the last word. Parents Guide. The doctors, in retrospect, had said that she had already started developing the symptoms many years prior to that. You take all the things you want from a person-sexual chemistry, let's say, or good conversation, or financial support, or intellectual compatibility, or niceness, or loyalty-and you get to pick three of those things. Enabling JavaScript in your browser will allow you to experience all the features of our site. Keep track of everything you watch; tell your friends. You are commenting using your Facebook account. Kundera's epic of adolescence tenderly erodes such sacrosanct values as childhood, motherhood, revolution, and even poetry, in a "remarkable portrait of an artist as a young man" "Newsweek".
    [Show full text]
  • Mr. Kundera, the European
    REFLECTIONS Mr. Kundera, The European The Unbearable Lightness of Being seemed a fitting title for a novel by Milan Kundera. In Kundera's fiction, experience is elusive, never quite what it seems: The grim political realities turn out to be laughable and the jokes to have terrible consequences. Although readers automatically identify Kundera with Eastern Europe, in his new novel, Immortality, not even the characters come from there. Ivan Sanders uncovers what is unchanging in Kundera: his exploration of what it means to be a writer today-especially a European writer. by Ivan Sanders astern Europeans have so of- feel vindicated by even a single Eastern ten bemoaned the lack of rec- European literary breakthrough may look ognition of their cultures that askance at the celebrity scoring the suc- when one of their artists does cesses. Writers from small countries who achieve world standing, they make a name for themselves abroad are are quick to proclaim him a frequently accused by their countrymen of genius who speaks for the entire region. A "internationalizing" their art, of blurring Yugoslav writer, Dubravka Ugregik, re- their deepest, most authentic creative im- cently recalled attending a lecture in Bel- pulses. And it is hard to say whether the grade by a "world-famous" American au- hostility stems from national insecurities, thor who, when asked if he had ever heard genuine concern, or plain envy. of Ivo Andrik, Miroslav Krleza, or Danilo For years Czechs have had an uncom- KiE (all three of them widely translated, fortably ambivalent relationship with Mi- and Andrik is a Nobel laureate), replied lan Kundera.
    [Show full text]
  • In Milan Kundera's the Joke and Anchee Min's Wild Ginger
    Acta Slavica Iaponica, Tomus 25, pp. 163-186 The Intimate Jokes of “Partocentrism” in Milan Kundera’s The Joke and Anchee Min’s Wild Ginger Panayot Karagyozov INTRODUCTION TO PARTOCENTRISM Partocentrism is a neologism following the pattern of such established terms as theocentrism, anthropocentrism, and ethnocentrism, and is meant to ex- press the central role of the Party in social life and literature during the period of Communist totalitarianism. Maksim Gorkii’s 1906 works, Enemies and The Mother, where for the first time, the struggle of the proletariat under the leadership of the party is shown, and Vladimir Maiakovskii’s poem, V.I. Lenin (1924), dedicated to the Russian Communist Party, became prototypes of the Communist partocentric literature. In the cult poem of partocentrism, the Soviet poet showed the two opposites of partisan existence: the collective anonymity of the masses, on the one hand,1 and the Party individualism being identified with its leader, on the other hand.2 From this point on, the Communist Party took center stage in the official, dis- sident, and emigrant Russian and Soviet literatures, and after World War II in the literatures of other socialist countries. Socialist realism, which gained a “civil statute” and picked up steam after the First Congress of Soviet Writers (1934), was not identical with partocentrism – it was merely a part of it. The Communist partocentrism was a time span dominated by a certain ideology, theme circles, and imagery, while socialist realism was among a multitude of methods for its artistic interpretation.3 In his verse To the Party (1929), the Bulgarian poet Hristo Radevski formu- lated the dogma for the Party’s infallibility (“I know, I do believe you’re [the Party is] right, even at times when you go wrong.”) This dogma attached an indulgence, a sacramental absolution to the Party, meaning that even if one or all party members did wrong, the Party should not be held accountable.
    [Show full text]