Andrés Wood’s Machuca and Violeta Went to Heaven

2016 ◽  
Vol 43 (5) ◽  
pp. 45-61 ◽  
Author(s):  
Patricia Vilches
Keyword(s):  
Collective Memory ◽  
Class Conflict ◽  
Social Division ◽  
Cultural Experiences ◽  
The 1960S ◽  
Chilean Dictatorship ◽  
At Home

A suppressed collective memory of the 1960s and early 1970s is now emergent among all Chileans, at home and abroad, including those who once wished to forget or to deny the violence, division, and injustice of the Chilean dictatorship. The treatment of class conflict and social division in two films directed by Andrés Wood— Machuca and Violeta Went to Heaven—has contributed to this awakening, pointing out that cultural experiences and economic destiny in Chile have been determined by divided geographical spaces. La memoria colectiva de los años 60 y principios de los 70 en Chile, que había estado suprimida hasta ahora, está surgiendo entre todos los chilenos, dentro y fuera del país, incluso entre aquellos que una vez desearon olvidar o negar la violencia, las divisiones y las injusticias de la dictadura chilena. El tratamiento de los conflictos de clase y las divisiones sociales en dos películas dirigidas por Andrés Wood— Machuca y Violeta se fue a los cielos—ha contribuido a este despertar, al señalar que las experiencias culturales y el destino económico de Chile han sido determinados por unos espacios geográficos divididos.

Symbolic Figures of the Decembrists in the Memorial Space of Irkutsk (Early 20th Century - 1991)

2021 ◽  
pp. 129-138
Author(s):  
Yekaterina I. Krasilnikova ◽  
◽  
Keyword(s):  
Social Identity ◽  
Collective Memory ◽  
Regional Identity ◽  
100Th Anniversary ◽  
The State ◽  
Soviet Period ◽  
Local Authorities ◽  
Politics Of Memory ◽  
The 1960S ◽  
Memorial Space

The author explores the problem of reflecting the collective memory of Siberians about the exiled Decembrists in the memorial space of Irkutsk at different historical stages. The aim of the article is to characterize the developing dynamics of a segment of the memorial space system that includes Irkutsk's memorial places associated with the Decembrists in the chronological framework of the Soviet period of Russian history. The study is based on the principle of historicism. The methodological reference point of the research is the problem field of memory studies; the concepts of the places of memory of P. Nora and cultural memory of J. Assmann and A. Assmann are used. The author also employs historical-genetic and historical-comparative methods. Within the framework of the Soviet period, three stages of forming the segment of the Irkutsk memorial space associated with the memory about the Decembrists were identified. The first stage, from the 1910s till 1925, reflects the general weakness of Irkutsk city residents' collective memory about the Decembrists, which was manifested in neglecting memorial sites, and the beginning of the awakening of interest in the Decembrists among the local liberal-minded intelligentsia. At the second stage, from 1925 (the 100th anniversary of the Decembrist uprising) till the 1960s, under the influence of the state politics of memory that recognized the Decembrists as the first generation of Russian revolutionaries, the intelligentsia of Irkutsk were actively forming the locus of the Decembrists' memorial space in their city. Based on the memory about the Decembrists, the intelligentsia was constructing their social identity. But the local authorities did not provide the intelligentsia with the desired support, which significantly complicated achieving the memorialization tasks. At the third stage, in the 1960s-1980s, the memory about the Decembrists' stay in Irkutsk was in demand among the local authorities, who used it especially actively during celebrations dedicated to the anniversaries of the city. Many memorable places were designated, and their protection was improved. The sharply increased attention of Irkutsk local administration and city residents to the exiled Decembrists reflected the growth of their regional identity. The author revealed the dependence of reflecting the collective memory about the Decembrists in the Irkutsk memorial space on the state and regional politics of memory, as well as on the local intelligentsia initiatives, for which the memory about the Decembrists served as one of the foundations for constructing their social identity.

Parents of the Welfare State: Pedagogues as Parenting Guides

2018 ◽  
Vol 17 (3) ◽  
pp. 467-480 ◽  
Author(s):  
Karen Ida Dannesboe ◽  
Dil Bach ◽  
Bjørg Kjær ◽  
Charlotte Palludan
Keyword(s):  
Primary Responsibility ◽  
The Family ◽  
Education And Care ◽  
Simultaneous Process ◽  
The 1960S ◽  
The Right ◽  
Children's Development ◽  
Children’S Development ◽  
At Home

In Denmark, a process of defamilising has taken place since the expansion of the Early Childhood Education and Care (ECEC) sector in the 1960s, in the sense that children now spend a large part of their childhood outside the family. Nevertheless, parents are still seen as key figures in children's upbringing and as having primary responsibility for the quality of childhood, implying a simultaneous process of refamilising. Based on ethnographic fieldwork we show that parents are not only held responsible for their children's lives at home, but also for ensuring that ECEC staff have the best possible opportunity to support children's development at ECEC institutions. We analyse how ECEC staff offer guidance on how to be a responsible parent who cooperates in the right ways, and on how to cultivate children's development at home. Parents willingly accept such advice because of a strong risk awareness embedded in diagnostic forms, positioning ECEC staff as parenting experts.

The war’s end: 15 August 1945 in NHK’s morning dramas from 1966 to 2019

2019 ◽  
Vol 5 (2) ◽  
pp. 127-143
Author(s):  
Sachiko Masuda
Keyword(s):  
Collective Memory ◽  
Great East Japan Earthquake ◽  
Popular Media ◽  
Asia Pacific ◽  
Pacific War ◽  
The Face ◽  
General Practices ◽  
Changing Times ◽  
The 1960S ◽  
Shed Light

NHK’s morning dramas, commonly known as asadora, usually focus on the lives of female heroines who cheerfully persevere in the face of adversity. They depict how women have responded to changing times, especially during and after the Asia-Pacific War. Since 2010, asadora have achieved increased popularity, and many of the shows broadcast since 2011 – the year of the Great East Japan Earthquake – have returned to the traditional theme of women during war. This study investigates asadora that depict the war period, focusing on the representation of 15 August 1945 since the format’s earliest days in the 1960s. As this study of 15 August scenes in asadora shows, memory of the Asia-Pacific War in Japan changed considerably after the catastrophe of 3/11. By understanding the mechanisms of presenting this specific event in popular media, it is also possible to shed light on the general practices of collective memory in Japan.

An everyday glimpse of the nation: NHK’s morning drama (asadora) and rituality

2019 ◽  
Vol 5 (2) ◽  
pp. 111-126
Author(s):  
Elisabeth Scherer
Keyword(s):  
Social Media ◽  
Collective Memory ◽  
Olympic Games ◽  
Symbolic Power ◽  
The Political ◽  
National Unity ◽  
The Public ◽  
Public Broadcaster ◽  
The 1960S ◽  
Shed Light

NHK’s morning drama (asadora) has been an important institution on Japanese television since the 1960s and is also known as ‘national drama’. This article discusses this media format in the context of rituals and nationhood: watching asadora has become an everyday ritual that can convey a sense of national unity, and the series functions as a ‘media ritual’ that naturalizes the concept of the Japanese nation, thereby also strengthening the symbolic power of the public broadcaster NHK. As the example of Hiyokko (2017) shows, the producers of this series evoke collective memory and nostalgia by depicting everyday culture and large, nationally charged events such as the 1964 Olympic Games. Reflecting on asadora can shed light on the political and ideological dimensions of seemingly ‘banal’ media products as well as provide more general insights into the development of television in times of social media and the disappearance of the ‘national’ TV audience.

scholarly journals Treatment of the bodies of those killed in French mercenary operations between 1960 and 1989

2019 ◽  
Vol 5 (2) ◽  
pp. 3-16
Author(s):  
Walter Bruyeré-Ostells
Keyword(s):  
Collective Memory ◽  
The Body ◽  
The 1960S ◽  
The Relationship ◽  
Secret War ◽  
Material Constraints

Mercenaries are fighters who operate under special conditions. Their presence, as shadow combatants, often tends to exacerbate the violence of their enemies. That’s why the analysis focuses on the singularity of the relationship to death and ‘procedures’ concerning the corpses of their fallen comrades. As a fighter identified and engaged in landlocked areas, the mercenary’s corpse is treated according to material constraints pertaining in the 1960s. After violence on their body, and evolution towards the secret war, mercenaries favour the repatriation of the body or its disappearance. These new, painful conditions for comrades and families give birth to a collective memory fostered by commemorations.

scholarly journals How fleeting is fame? Collective memory for popular music

2018 ◽  
Author(s):  
Stephen Spivack ◽  
Sara Jordan Philibotte ◽  
Nathaniel Hugo Spilka ◽  
Ian Passman ◽  
Pascal Wallisch
Keyword(s):  
Popular Music ◽  
Collective Memory ◽  
Large Sample ◽  
The 1960S ◽  
Over Time

In this paper, we investigated the collective memory for popular music. To assess how well number-one hits are recognized over time, we randomly selected top songs fromthe last 76 years and presented them to a large sample of mostly millennial participants. In response to hearing each selection, participants were prompted to indicate whether they recognized each song. We found three distinct phases in collective memory: a steep linear drop-off in recognition for the music from this millennium, a stable plateau from the 1960s to the 1990s, and a further but more gradual drop-off for music from the 1940s and 1950s.More than half of recognition variability between songs can be accounted for by exposure as measured by Spotify play counts. We conclude that in the musical realm, fame is fleeting - but perhaps not as fleeting as previously suggested.

The Bible in Pop and Rock Music

2020 ◽  
pp. 329-343
Author(s):  
Michael J. Gilmour
Keyword(s):  
Popular Music ◽  
Collective Memory ◽  
Rock Music ◽  
Status Quo ◽  
Religious Language ◽  
Biblical Story ◽  
The Bible ◽  
The Status ◽  
The 1960S ◽  
Conservative Values

The Bible is ubiquitous in pop and rock music of the 1960s through to the present. This is surprising given that the art forms subsumed under these catchall categories are typically oppositional in nature. They resist the status quo and are often antiestablishment in posture, and by their very nature inclined to push back against the conservative values and authoritarian tendencies of organized religion. This chapter examines reasons why biblical and religious language is so persistent a feature in the popular music of recent decades, emphasizing the collective memory of the biblical story among songwriters and their audiences and the fragmentary nature of these “readings” of sacred texts and traditions.

Performing Public Spaces, Staging Collective Memory: 50 Kilometres of Files by Rimini Protokoll

2014 ◽  
Vol 58 (3) ◽  
pp. 27-38 ◽  
Author(s):  
Daniela Hahn
Keyword(s):  
Collective Memory ◽  
Urban Environment ◽  
Public Space ◽  
Public Spaces ◽  
Urban Spaces ◽  
Artistic Practice ◽  
The 1960S

Since the 1960s, walking through urban spaces as an explorative artistic practice has become a manifestation of the blurring boundaries between theatre and what is called “public space.” Rimini Protokoll’s 50 Kilometres of Files turns an urban environment into a sonic space in which the city’s past and present converge, resonating with each walker’s step.

The Klezmer Accordion

2017 ◽  
Author(s):  
Joshua Horowitz
Keyword(s):  
Distinctive Feature ◽  
Folk Music ◽  
Human Voice ◽  
Italian American ◽  
Integral Element ◽  
The 1960S ◽  
At Home ◽  
Solo Instrument

This chapter takes a closer look at the role of the accordion in klezmer music. Like the pioneering Italian American virtuoso accordionists, Jewish musicians felt equally at home playing classical and folk music. The select analysis of early accordion playing styles and stylistic characteristics sheds light on the interaction and interplay of klezmer musicians with their surrounding worlds—Old and New. A distinctive feature of the early “klezmer sound” was the accordion's imitation of the human voice heard in liturgical, paraliturgical, and Yiddish song. By the late 1930s, the accordion was often used for chordal accompaniment (rather than as a solo instrument). It was an integral element of the popular Hasidic bands of the 1960s and the “klezmer ensembles” that embraced the new Israeli music as well as earlier “Palestinian” music. Although it was often deemed “an outsider,” for the revivalists of the 1980s and beyond, the accordion has been characteristic of the klezmer style.

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