Cinema, Anarchism, and Revolution

2020 ◽  
pp. 60-109
Author(s):  
Richard Porton
Keyword(s):  
Historical Period ◽  
Paris Commune ◽  
Avant Garde ◽  
Old Left ◽  
Object Lessons ◽  
May 1968 ◽  
Commune Of 1871 ◽  
New Babylon

This chapter examines cinema's representation of anarchist heroes, martyrs, and fleeting revolutionary moments, formulating a critique of mainstream socialism that is far from the banalities of bourgeois sociology. Two films, Bo Widerberg's Joe Hill (1971) and Giuliano Montaldo's Sacco and Vanzetti (1971), deal with a transitional historical period before the final polarization of Bolshevism and anarchism. These films are reverential tributes to radical martyrs, and reflect the fact that these members of the Old Left pantheon have long been heralded as all-purpose leftists whose legacies provide useful object-lessons for socialists, liberals, and communists, as well as anarchists. The chapter then looks at the documentary and fiction films inspired by the Spanish Revolution of the 1930s. It also considers a prototypical sequence in Grigori Kozintsev and Leonid Trauberg's Soviet avant-garde epic New Babylon (1929), which sums up the grassroots anti-authoritarianism of the seventy-two-day Paris Commune of 1871, while prefiguring the Spanish libertarian communism of the 1930s and the anti-statist radicalism that erupted during the events of May 1968 in France.

scholarly journals CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS

2020 ◽  
pp. 36-40
Author(s):  
M. V. Ternova
Keyword(s):  
Theoretical Analysis ◽  
Art History ◽  
Art Criticism ◽  
The Other ◽  
Historical Period ◽  
Rudyard Kipling ◽  
Cultural Traditions ◽  
Avant Garde ◽  
History Analysis ◽  
The One

The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.

Introduction

2020 ◽  
pp. 1-22
Author(s):  
Colin Foss
Keyword(s):  
Civil War ◽  
Cultural Production ◽  
Book Publishing ◽  
Limited Resources ◽  
French History ◽  
Personal Writing ◽  
Paris Commune ◽  
The World ◽  
Commune Of 1871 ◽  
Bear Witness

While scholarly interest is often drawn to the more tumultuous Paris Commune of 1871, insistence on this moment of revolution and civil war obscures the specific stakes of the Siege of Paris, which was not as much a revolution as a moment of suspension in French history. Cut off from the rest of the world, Parisians were left to their own devices during the Siege. What resulted was a literary industry with few established authors present, limited resources, and enormous demand. Despite the circumstances, Parisians turned to literature to alleviate their isolation and bear witness to the unspeakable tragedy that surrounded them. The relative anonymity of Parisian literary production during the Siege has erroneously led to the conclusion that culture came to a standstill during this period. However, a closer look at literary institutions, which weathered the storm of national defeat remarkably well, shows that literature does not disappear in times of war: it simply changes form. The introduction defines the four major sites of cultural production and the networks that existed within and among them: theaters, newspapers, personal writing, and book publishing.

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