Suchergebnisse

This thesis focuses on the representations of indigenous peoples of the North in Soviet fiction films and made for TV movies. Mobilizing several approaches — film analysis, the cultural history of cinema, the history of representations and Soviet political history — it confronts films with non-film sources (press, paper archives, interviews) in order to highlight the construction of a subjective point of view. It also studies the production of these representations, in both its most concrete and symbolic dimensions. The issue of the participation or non-participation of indigenous peoples in the creation of their image on film, whether in front of or behind the camera, is another central question. The filmic representations of the peoples of the North, constantly torn between visions of "progress" and "authenticity," operate on the screen as images that allowed the Soviet Union to evaluate its own perception of modernity. From the 1920s to the 1980s, images of indigenous people shifted along a spectrum ranging from the incarnation of backwardness to be eliminated in the name of Sovietization to the embodiment of harmony with nature, now lost or threatened. Moreover, taking into account the question of the contribution of the indigenous people to the creation of their own image, this thesis demonstrates that cinema became a complex space, where different readings and uses were possible according to the position of the participants. ; Cette thèse porte sur les représentations des peuples autochtones du Nord forgées par les films et téléfilms soviétiques de fiction. Mobilisant plusieurs approches — l'analyse filmique, l'histoire culturelle du cinéma, l'histoire des représentations et l'histoire politique soviétique —, elle confronte les films à des sources non-films (presse, archives papier, entretiens), afin de mettre en lumière la construction d'une subjectivité et d'un regard. Il s'agit également de décortiquer la fabrication des représentations, dans ses dimensions à la fois les plus concrètes et les plus ...

This thesis focuses on the representations of indigenous peoples of the North in Soviet fiction films and made for TV movies. Mobilizing several approaches — film analysis, the cultural history of cinema, the history of representations and Soviet political history — it confronts films with non-film sources (press, paper archives, interviews) in order to highlight the construction of a subjective point of view. It also studies the production of these representations, in both its most concrete and symbolic dimensions. The issue of the participation or non-participation of indigenous peoples in the creation of their image on film, whether in front of or behind the camera, is another central question. The filmic representations of the peoples of the North, constantly torn between visions of "progress" and "authenticity," operate on the screen as images that allowed the Soviet Union to evaluate its own perception of modernity. From the 1920s to the 1980s, images of indigenous people shifted along a spectrum ranging from the incarnation of backwardness to be eliminated in the name of Sovietization to the embodiment of harmony with nature, now lost or threatened. Moreover, taking into account the question of the contribution of the indigenous people to the creation of their own image, this thesis demonstrates that cinema became a complex space, where different readings and uses were possible according to the position of the participants. ; Cette thèse porte sur les représentations des peuples autochtones du Nord forgées par les films et téléfilms soviétiques de fiction. Mobilisant plusieurs approches — l'analyse filmique, l'histoire culturelle du cinéma, l'histoire des représentations et l'histoire politique soviétique —, elle confronte les films à des sources non-films (presse, archives papier, entretiens), afin de mettre en lumière la construction d'une subjectivité et d'un regard. Il s'agit également de décortiquer la fabrication des représentations, dans ses dimensions à la fois les plus concrètes et les plus ...

This paper discusses indigenous cinema from Siberia and how this media is being used by the Siberian minorities as a means to (re)build their national identity after the collapse of USSR. It focuses on films from Sakha (Yakutia) Republic and the Republic of Khakassia, both autonomous republics within the Russian Federation, which are experiencing an ethnicity-based cultural revival. It shows that cinema plays a full part in this revitalization process. The article begins with a brief history of Sakha and Khakas feature films, which form the core of the studied corpus. Based on interviews of Khakas and Sakha filmmakers, it analyses why and how film can be considered a good vehicle for identity strengthening. Then, focusing on films themselves, be they amateur or more professional quality productions, if not commissioned by the local government, it examines how those films are rethinking the supranational (Russo-Soviet) narrative, re-imagining geography and trying to reconnect with Sakha and Khakas peoples' own past and traditions. Finally, it highlights the differences between Khakas and Sakha cinema through showing how these "national" film productions can express a strong or a weak feeling of identity.

International audience ; This paper discusses indigenous cinema from Siberia and how this media is being used by the Siberian minorities as a means to (re)build their national identity after the collapse of USSR. It focuses on films from Sakha (Yakutia) Republic and the Republic of Khakassia, both autonomous republics within the Russian Federation, which are experiencing an ethnicity-based cultural revival. It shows that cinema plays a full part in this revitalization process. The article begins with a brief history of Sakha and Khakas feature films, which form the core of the studied corpus. Based on interviews of Khakas and Sakha filmmakers, it analyses why and how film can be considered a good vehicle for identity strengthening. Then, focusing on films themselves, be they amateur or more professional quality productions, if not commissioned by the local government, it examines how those films are rethinking the supranational (Russo-Soviet) narrative, re-imagining geography and trying to reconnect with Sakha and Khakas peoples' own past and traditions. Finally, it highlights the differences between Khakas and Sakha cinema through showing how these "national" film productions can express a strong or a weak feeling of identity.

International audience ; This paper discusses indigenous cinema from Siberia and how this media is being used by the Siberian minorities as a means to (re)build their national identity after the collapse of USSR. It focuses on films from Sakha (Yakutia) Republic and the Republic of Khakassia, both autonomous republics within the Russian Federation, which are experiencing an ethnicity-based cultural revival. It shows that cinema plays a full part in this revitalization process. The article begins with a brief history of Sakha and Khakas feature films, which form the core of the studied corpus. Based on interviews of Khakas and Sakha filmmakers, it analyses why and how film can be considered a good vehicle for identity strengthening. Then, focusing on films themselves, be they amateur or more professional quality productions, if not commissioned by the local government, it examines how those films are rethinking the supranational (Russo-Soviet) narrative, re-imagining geography and trying to reconnect with Sakha and Khakas peoples' own past and traditions. Finally, it highlights the differences between Khakas and Sakha cinema through showing how these "national" film productions can express a strong or a weak feeling of identity.