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Cinema / Performance Program Soviet cinema of the 1920s and after introduced Il cinema sovietico degli anni ’20 e successivi or popularized significant new genres and subjects: introdusse e rese popolari nuovi significativi generi agitational newsreels, educational shorts, and e soggetti: cinegiornali di protesta, cortometraggi documentaries on mass cultural events or the educativi e documentari su eventi culturali di massa everyday lives of urban or agricultural workers, o sulla vita di tutti i giorni dei lavoratori di città o among others. Trains and village tents became agricoli. Treni e tendoni diventarono case di cinema makeshift movie houses; in artists’ imagination, improvvisati; nell’immaginario degli artisti, chioschi multimedia kiosks would soon spring up on street multimediali sarebbero comparsi agli angoli delle corners across the USSR. The aim was to open a strade in tutta l’USSR. L’obbiettivo era quello di aprire vast, heterogeneous populace to new ideas and una vasta ed eterogenea popolazione a nuove idee e technologies and in doing so to shape tecnologie e così formare il vero popolo sovietico. a truly Soviet people. A metà del ventesimo secolo l’Unione Sovietica The Soviet Union inspired new systems of è stata di ispirazione per la nascita di nuovi sistemi governance across the world in the mid-twentieth governativi in tutto il mondo, quando gli imperi century, when Western colonial empires fell and coloniali occidentali decaddero e la Russia e gli Stati Russia and the United States battled for international Uniti combatterono per la supremazia internazionale. influence. Nei decenni del dopoguerra, le prime forme e teorie Early Soviet cinematic forms and theories were cinematiche sovietiche furono rianimate da registi revived during the postwar decades by filmmakers che condividevano le prime convinzioni sovietiche, who shared the early Soviet conviction that analysis per i quali l’analisi di una situazione rivoluzionaria, of a revolutionary situation—in culture as well as culturale come politica, richiede una rivoluzione politics—demands a revolution in form as well. Less in anche nella forma. Meno in evidenza dopo la Guerra evidence after the Cold War, the inspirations of the Fredda, le ispirazioni degli anni ’20 e ’60 hanno 1920s and the 1960s have nonetheless continued to tuttavia continuato a guidare certi cineasti guide some cinema auteurs into the present. verso il presente. Each evening from May 14 through May 29, this Ogni sera, dal 14 al 29 maggio, nel Cinema sulla Street Cinema space will host the screening of a Strada si terranno le proiezioni di film di riconosciuti feature film by an internationally recognized postwar registi del dopoguerra o contempornei, che operano or contemporary auteur working in the tradition of nella tradizione dei film sovetici sperimentali e/o experimental and/or politically committed Soviet politicamente impegnati. film. Il programma di tutte le proiezioni e spettacoli For a printed listing of all screenings and della mostra Space Force Construction è disponibile performances included in Space Force Construction nel Palazzo delle Zattere. exhibition, please pick up a brochure across the way in the Palazzo delle Zattere. Ingresso libero Free admission 9 May 11 May 2 – 3PM 11AM – 7PM Our Common Ghosts: Óptica Bronstein Informal Meeting Pablo Helguera and Yevgeniy Fiks Launch of Workweek, with artist Christian • Theatre gallery, First floor Nyampeta, philosopher Isaïe Nzeyimana, artist Emma Wolukau-Wanambwa, and the Venice Working 2 – 3PM Groups. Translation • Workers Club, Printing Room and Garden, Ground floor Olga Jitlina with Lampedusa in Hamburg • Street Cinema 10 May 2 – 4PM Our Common Ghosts: Preliminaries, 11AM – 7PM Histories and Vectors Óptica Bronstein Christian Nyampeta introduces, Pablo Helguera and Yevgeniy Fiks a lecture by philosopher Isaïe Nzeyimana with • Theatre gallery, First floor a response by artist Emma Wolukau-Wanambwa • Workers Club, Printing Room and Garden, Ground floor 2 – 4PM How To Live Together 3 – 3:30PM and 5 – 5:30PM Christian Nyampeta. Screening programme Dance, Sergey Sapozhnikov and listening session: • Garden, 30’ Emma Wolukau–Wanambwa Promised Lands. 2015. 23’. colour, sound 4 – 6PM Comment Vivre Ensemble Isasthenai, Tania Bruguera 2015–ongoing. 30’. colour, sound • Lenin Room, Ground floor The Common Cause Stomach it, Taus Makhacheva 2016. 6’. colour, sound • Various spaces Rushes, Sketches and Measures 2017. variable, colour, sound 7:30PM • Workers Club and Printing Room, Ground floor Soviet Toys Dziga Vertov. 1924. 10’. b/w, silent 3 – 3:30PM and 5 – 5:30PM Kino-Pravda, no. 21, 1925 Dance, Sergey Sapozhnikov (Lenin Kino-Pravda) • Garden, 30’ Dziga Vertov. 1925. 23’. b/w, silent China on Fire 4 – 6PM Nikolai Khodataev, Zenon Komissarenko, Isasthenai, Tania Bruguera Yurii Merkulov. 1925. 32’. b/w, silent (12’54’’ excerpt) • Lenin Room, Ground floor 78’ Stomach it, Taus Makhacheva The Eleventh Year • Various spaces Dziga Vertov. 1928. 45’. b/w, silent • Street Cinema 9 – 10PM Translation Olga Jitlina with Lampedusa in Hamburg • Street Cinema 12 May 13 May 11AM – 7PM 11AM – 7PM Óptica Bronstein Óptica Bronstein Pablo Helguera and Yevgeniy Fiks Pablo Helguera and Yevgeniy Fiks • Theatre gallery, First floor • Theatre gallery, First floor 2 – 3PM 2 – 6PM Translation Our Common Ghosts: Questions, Ideas Olga Jitlina with Lampedusa in Hamburg and Practices #1 • Street Cinema Open session hosted by the Venice Working Groups: ABOUT, AUT, IUAV Student Groups; sonic acts by 2 – 6PM musician Alvise Seggi, featuring an alternating band Our Common Ghosts: Questions, Ideas with a.o. Jennifer Cabrera Fernandez, Mafal Diaw, and Practices #1 Aldo Vio and Moulaye Niang. Open session and hosting by the Venice • Workers Club and Garden, Ground floor Working Groups: ABOUT; AUT; IUAV Student Groups 3 – 3:30PM and 5 – 5:30PM • Workers Club and Printing Room, Ground floor Dance, Sergey Sapozhnikov • Garden, 30’ 3 – 3:30PM and 5 – 5:30PM Dance, Sergey Sapozhnikov 6 – 8:30PM • Garden, 30’ Ten Minutes in the Morning Aleqsandre Jaliashvili. 1931. 29’. b/w, silent 4 – 6PM Youth in Bloom Isasthenai, Tania Bruguera Aleksandr Medvedkin. 1938. 36’. b/w, • Lenin Room, Ground floor silent (10’ excerpt) Stomach it, Taus Makhacheva The Event at the Stadium • Various spaces Aleksandr Ptushko. 1929. 6’. b/w, silent Skate Ring 7:30PM Ivan Ivanov-Vano, Yurii Zheliabuzhskii. Goskino: An Overview in March, 1924 1927. 7’. b/w, silent 10’. b/w, silent A Street Across Man with a Movie Camera Vladimir Suteev, Lev Atamanov. 1931. 12’. b/w Dziga Vertov. 1925. 80’. b/w, silent Look after Your Health (7’ excerpt) Aleksandr Medvedkin. 1929. 8’. b/w, silent Your Acquaintance Don’t Spit On the Floor (The Female Journalist) Vladimir Shirokov. 1929. 7’. b/w, silent Lev Kuleshov. 1927. 17’. b/w, silent How to Walk in the Street (5’ excerpt) Mikhail Verner. 1925. 7’. b/w, silent The Cigarette Girl from Mossel’prom Homeless Yurii Zheliabuzhskii. 1924. 93’. b/w, silent Boris Tseitlin. 1924. 9’50’’. b/w, silent (2’ excerpt) 96’ The Microbe of Communism The Eleventh Year Mikhail Doronin. 1925. 31’ b/w, silent Dziga Vertov. 1928. 45’. b/w, silent (2’ excerpt) • Street Cinema The Storming of the Winter Palace Nikolai Evreinov. 1920. 14’. b/w, silent 9 – 10PM Sevzapkino News, no. 12 Translation 1923. 2’. b/w, silent (16” excerpt) Olga Jitlina with Lampedusa in Hamburg 54’ • Street Cinema Happiness Alexander Medvedkin. 1934. 63’. b/w, silent 9PM • Street Cinema Aelita: Queen of Mars DJ Spooky aka Paul D. Miller • Auditorium Santa Margherita 14 May 16 May 11AM – 7PM 7:30PM Óptica Bronstein For Marx, Svetlana Baskova. 2012. 100’. color Pablo Helguera and Yevgeniy Fiks • Street Cinema • Theatre gallery, First floor 2 – 6PM Our Common Ghosts: Conclusions, 18 May Movements and Futures Closing dialogue of the Workweek, followed by 3 – 3:30PM and 5 – 5:30PM a listening session and a live music session. With Dance, Sergey Sapozhnikov Christian Nyampeta, philosopher Isaïe Nzeyimana • Garden, 30’ and artist Emma Wolukau-Wanambwa, the Venice Working Groups and music session organised by 7:30PM musician Alvise Seggi. Gleaners and I, Agnes Varda. 2002. 82’. color • Workers Club, Ground floor • Street Cinema 3 – 3:30PM and 5 – 5:30PM Dance, Sergey Sapozhnikov • Garden, 30’ 19 May 6 – 8:30PM 3 – 3:30PM and 5 – 5:30PM Soviet Toys Dance, Sergey Sapozhnikov Dziga Vertov. 1924. 10’. b/w, silent • Garden, 30’ Kino-Pravda, no. 21, 1925 (Lenin Kino-Pravda) 7:30PM Dziga Vertov. 1925. 23’. b/w, silent Not Reconciled China on Fire Jean-Marie Straub, Danièle Huillet. Nikolai Khodataev, Zenon Komissarenko, 1964. 55’. b/w Yurii Merkulov. 1925. 32’. b/w, silent • Street Cinema (12’54’’ excerpt) 78’ Happiness, Alexander Medvedkin. 1934. 20 May 63’. b/w, silent • Street Cinema 11AM – 7PM Óptica Bronstein 9 – 10PM Pablo Helguera and Yevgeniy Fiks Translation • Theatre gallery, First floor Olga Jitlina with Lampedusa in Hamburg • Street Cinema 2-4PM Our Common Ghosts Sonic acts by musician Alvise Seggi, featuring 15 May an alternating band • Garden 7:30PM Workers Leaving Factory 3 – 3:30PM and 5 – 5:30PM Harun Farocki. 1995. 37’. b/w and color Dance, Sergey Sapozhnikov Statues Also Die • Garden, 30’ Alains Resnais, Chris Marker, Ghislain Cloquet. 1963. 30’. b/w 7:30 PM • Street Cinema Salut les Cubains, Agnes Varda. 1963. 30’. b/w • Street Cinema 21 May 27 May 11AM – 7PM 11AM – 7PM Óptica Bronstein Óptica Bronstein Pablo Helguera and Yevgeniy Fiks Pablo Helguera and Yevgeniy Fiks • Theatre gallery, First floor • Theatre gallery, First floor 3 – 3:30PM and 5 – 5:30PM 2 – 4PM Dance, Sergey Sapozhnikov Our Common Ghosts • Garden, 30’ Sonic acts by musician Alvise Seggi, featuring an alternating band 7:30PM • Garden Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles 7:30PM Chantal Akerman. 1975. 201’. color A Grin without a Cat (1993!) • Street Cinema Chris Marker. 1993. 180’. b/w and color • Street Cinema 22 May 28 May 7:30PM The Last Bolshevik 11AM – 7PM Chris Marker.
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  • Librarians' Favourite Books from Their Country

    Librarians' Favourite Books from Their Country

    THE WORLD THROUGH PICTURE BOOKS Librarians’ favourite books from their country Edited by Annie Everall OBE and Viviana Quiñones the worldthrough picture books Librarians’ favourite books from their country Edited by Annie Everall OBE and Viviana Quiñones A programme of Section Libraries for Children and Young Adults, IFLA – International Federation of Library Associations and Institutions – in collaboration with IFLA Section Literacy and Reading and IBBY – International Board on Books for Young People. Programme co-ordination: Annie Everall, in collaboration with Viviana Quiñones http://www.ifla.org/en/node/6718 Illustrations by David Pintor, www.davidpintor.com Design by Ursula Held, [email protected] The World through Picture Books / Edited by Annie Everall and Viviana Quiñones The Hague, IFLA Headquarters, 2013 – 140 p. 30 cm. – (IFLA Professional Reports:135) ISBN 978-90-77897-61-4 ISSN 0168-1931 the throughworld picture books Contents 5 Foreword 7 Introduction 11 Algeria 14 Argentina 18 Benin 22 Brazil 27 Cameroon 30 Colombia 33 Croatia 38 Denmark 42 Finland 45 France 48 Germany 51 Guadeloupe (France) 55 Haiti 59 India 62 Japan 66 Republic of Korea 70 Lebanon 73 Madagascar 77 Mali 80 Mauritius 83 Netherlands 86 Nigeria 89 Norway 93 Philippines 96 Qatar 100 Reunion Island (France) 104 Romania 108 Russian Federation 112 Senegal 115 Serbia 118 Singapore 121 South Africa 124 Sweden 127 Switzerland 133 United Kingdom 137 USA the throughworld picture books Foreword By Viviana Quiñones We are very happy to publish the results of this participative, international, ongoing Chair, IFLA Section Libraries programme, “The World through Picture Books”. It deals with something we children’s for Children and Young Adults librarians must never lose sight of, even if we are so busy with new technologies, budget [email protected] restrictions, everyday work…: read children’s books and choose the best ones for our readers.
  • Animation and the National Ethos: the American Dream, Socialist Realism, and Russian Émigrés in France

    Animation and the National Ethos: the American Dream, Socialist Realism, and Russian Émigrés in France

    Animation and the National Ethos: the American Dream, Socialist Realism, and Russian émigrés in France by Jennifer Boivin A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Department of Modern Languages and Cultural Studies University of Alberta © Jennifer Boivin, 2017 ii Abstract Animation is seen as the innocent child of contemporary media and is often considered innocuous and juvenile in general popular culture. This might explain why it is still a marginal field. Perhaps this perception is influenced by the mass media of animation being mostly aimed at children, or at least perceived as such. This thesis specifically focuses on animated films’ aesthetic and content in relation to their particular cultural context and ethos, or national ideology. I investigate the American Dream, Soviet Socialism, and a Russian émigré ethos in France to show how seemingly similar content can carry unique ideological messages in different cultural contexts. Therefore, my film analyses examine the way animation is used as a medium to carry specific meaning on the screen, expressing this ethos. The national ethos is manifest in beliefs and aspirations of a community, culture, and era, and it promotes a certain cultural unity and order. It is a form of nationalism oriented towards utopian values rather than clear civic or political engagement. It can be politicised as well as individualised. This idealised ethos remains a largely constructed paradigm on which the regular citizen (and the audience) should model his behaviour. In this thesis, I propose that animation is not only a form of entertainment, but also a possible mechanism of social control through national ideas, responding to prevailing cultural and social conditions.