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1.
Balázs, the sunday circle, and aesthetic praxisscript
Eszter Polonyi, prispevek na konferenci brez natisa

Ključne besede: Central European cultural politics, Georg Lukacs, Anna Lesznai, Soviet Communes, revolution, film industry, mass media
Objavljeno v RUNG: 11.12.2020; Ogledov: 3052; Prenosov: 0
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2.
Revolutionary Cinefication on the Case of Three Soviet Film-Makers
Gal Kirn, predavanje na tuji univerzi

Ključne besede: early avant-garde, film in revolution, revolution in film, October, politics and art
Objavljeno v RUNG: 25.08.2020; Ogledov: 3461; Prenosov: 0
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3.
Eisenstein, Vertov and Medvedkin: revolutionary “cinefication” and communist subjectivity
Gal Kirn, 2017, izvirni znanstveni članek

Opis: The major hypothesis of this article is that revolution was first “cinefied” in the Soviet context, which suggests that film was able to imagine, produce, narrate and circulate the image of (the October) (R)revolution. In this context, I will attempt to elaborate on the concept of “cinefication” here taken from Pavle Levi’s book Cinema by Other Means (2012). Levi has shown that cinefication should not be seen only as an official Soviet policy that build the cinematic infrastructure across the country and spread the revolution by trains. Rather, cinefication should be seen as the emergence of an apparatus with intensified technological capacities and also as the specific modality-genealogy of avant-garde methods within cinema. In order to understand the emergence of (avant-garde) film one should actually take into account non-cinematic means, which in their turn produced cinematic effects. My hypothesis shifts the stress on these interdisciplinary, inter-medial resources to the more general relationship between revolution and cinema/film. In short, the October Revolution continued “by other means” in cinema/film. Therefore we will not be interested in a vulgar materialist analysis that engages in a mere reflection of the October Revolution on screen (revolution as matter), but rather in how the revolution was “refracted,” displaced or replaced and actually continued by new Soviet cinema.
Ključne besede: cinema-train, cinefication, revolutionary cinema, cinema on revolution, October, Medvedkin, Eisenstein, Vertov, communist subjectivity, emancipation, workers' history
Objavljeno v RUNG: 19.08.2020; Ogledov: 3421; Prenosov: 0
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4.
The Partisan Counter-Archive: Retracing the Ruptures of Art and Memory in the Yugoslav People's Liberation Struggle.
Gal Kirn, 2020, znanstvena monografija

Opis: Mere decades after the dissolution of Yugoslavia, the promise of European democracy seems to be out of joint. What has become of the once-shared memory of victory over fascism? Historical revisionism and nationalist propaganda in the post-Yugoslav context have tried to eradicate the legacy of partisan and socialist struggles, while Yugonostalgia commodifies the partisan/socialist past. It is against these dominant ‘archives’ that this book launches the partisan counter-archive, highlighting the symbolic power of artistic works that echo and envision partisan legacy and rupture. It comprises a body of works that emerged either during the people's liberation struggle or in later socialist periods, tracing a counter-archival surplus and revolutionary remainder that invents alternative protocols of remembrance and commemoration. The book covers rich (counter-)archival material – from partisan poems, graphic works and photography, to monuments and films – and ends by describing the recent revisionist un-doing of the partisan past. It contributes to the Yugoslav politico-aesthetical “history of the oppressed” as an alternative journey to the partisan past that retrieves revolutionary resources from the past for the present. "The material of this archive of anti-fascist struggle in what would become Yugoslavia bursts with vitality. Through photographs, poems, drawings, dance, and song, we live the terrors and joys of these young women and men who risked their lives for freedom. This is brilliant work, a rescue of local history passed over by official memory, that sustains an unrelenting focus on questions of right or wrong in political struggle, and it is the archival evidence that provides the answers. Kirn’s account is urgent reading, given the racialized nationalism of our time." – Susan Buck-Morss, CUNY Graduate Center  "The Partisan Counter-Archive is a politically outstanding art history. But it is also an insightful political history based on joining the dots between oppressive and emancipatory cultural narratives. The outcome of exemplary research, the book describes and explains the excision of Yugoslavia’s antifascist struggles from public memory all the way to the legitimisation of fascism in the region today. As such, this intellectual effort is highly relevant to understanding the global advance of totalitarian capitalism in the 21st century, the techniques of anti-communism and their ties to nationalism, but also the role of history-writing in countering our predicament. And a warning: this is an affective read, as the injustice perpetrated against the antifascist dead is made palpable. If you feel political anger, it is justified; and it can be used to change our history-to-be." – Angela Dimitrikaki, The University of Edinburgh
Ključne besede: Partisan art, memory of revolution, critique of historical revisionism, partisan surplus, Yugoslav People's Liberation Struggle, cultural empowerment, Yugoslav socialism, partisan monuments
Objavljeno v RUNG: 19.08.2020; Ogledov: 3298; Prenosov: 0
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