08 Aug 17 | Artistic Freedom, Magazine, News and features, Russia, Volume 46.02 Summer 2017
[vc_row][vc_column][vc_custom_heading text=”Influential Soviet director Sergei Eisenstein is often portrayed as the godfather of propaganda in film. David Aaronovitch argues in the summer 2017 issue of Index on Censorship magazine that historical drama can also be manipulative when it ignores details of the past”][vc_row_inner][vc_column_inner][vc_column_text]
A still from Sergei Eisenstein’s 1925 film, Battleship Potemkin, portraying a massacre that never happened. Credit: Wikimedia
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My friend, a writer, reminded me of the English romantic poet John Keats’s axiom that “we hate poetry that has a palpable design upon us”. You could say, though, that Lenin and Mussolini – at least when it came to the poetry of film – knew differently. “Of all the arts, for us,” said Lenin, “the cinema is the most important”. “For us” meaning, of course, for the ruling Bolsheviks in the aftermath of the October 1917 revolution. When the Italian dictator Mussolini’s new super studios were opened in 1936 a sign was erected over the gate reading “Il cinema è l’arma più forte”, “cinema is the strongest weapon”.
It was George Orwell, not a dictator (though they doubtless would smilingly have agreed with him) who wrote that, “he who controls the past controls the future. He who controls the present controls the past.” It is pretty obvious that the way the powerful medium of film depicts the “then” has important implications for what people can be brought to believe about the “now”.
I was brought up partly on films made in the Soviet Union and saw some of the most celebrated early movies when I was young. The director Sergei Eisenstein was the most famous name and before I was 12 I’d seen almost all his films, from the silent Strike made in 1924 to the extraordinarily ambivalent and terrifying two-part classic Ivan the Terrible. Every single one of them can be said to have had some kind of agenda that dovetailed – sometimes perfectly, sometimes awkwardly – with that of the Soviet state.
[/vc_column_text][vc_row_inner][vc_column_inner width=”1/4″][vc_icon icon_fontawesome=”fa fa-quote-left” color=”custom” align=”right” custom_color=”#dd3333″][/vc_column_inner][vc_column_inner width=”3/4″][vc_custom_heading text=”The massacre on the Odessa steps (once seen, never forgotten) from the movie Potemkin didn’t actually happen” google_fonts=”font_family:Libre%20Baskerville%3Aregular%2Citalic%2C700|font_style:400%20italic%3A400%3Aitalic”][/vc_column_inner][/vc_row_inner][vc_column_text]
The two that were most obviously about Bolshevism and Russia were The Battleship Potemkin, dealing with events in the city of Odessa in 1905, and October, an account of the “ten days that shook the world” – the Bolshevik seizure of power – in Petrograd (St Petersburg) in 1917.
Both deploy Eisenstein’s famous techniques of intercutting, juxtaposition and montage to create mood and drama. Sometimes cutaways of objects or expressions are inserted to refer obliquely to what the viewer is supposed to think of the person or the moment being depicted.
And in both films the actual history is bent for the purposes of the filmmaker. The massacre on the Odessa steps (once seen, never forgotten) from the movie Potemkin didn’t actually happen. The film version of the storming of the Winter Palace in October involved many more actors than the actual event itself. And October was criticised in Keatsian terms by no less a luminary than Lenin’s widow, Nadezhda Konstantinovna Krupskaya.
The full article by David Aaronovitch is available with a print or online subscription.
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”Film and the Soviet state”][vc_column_text]
Sidebar by Margaret Flynn Sapia
[/vc_column_text][vc_video link=”https://www.youtube.com/watch?v=3UQMg3saU4Q&t=1s” title=”Strike (1925)”][vc_column_text]The Soviet version of Russian history had two goals: to legitimise the rise and rule of the current government, and to instil its values into future generations. Strike, the first film directed by Sergei Eisenstein, undoubtedly does both. The film, set before the revolution, tells the story of a group of factory workers as they rise up against their abusive management. It begins with a quote by Lenin – “The strength of the working class is organisation” – and ends with a violent strike cross cut with the slaughter of animals. From the first frame to the last, the message is clear.[/vc_column_text][vc_video link=”https://www.youtube.com/watch?v=JcJkHCihTmE” title=”Ivan the Terrible (1944)”][vc_column_text]It is fitting that Joseph Stalin regarded Tsar Ivan IV as his role model, given that the two men men are renowned as two of Russia’s cruelest and most feared leaders. Directed by Eisenstein and commissioned by Stalin himself, Ivan the Terrible takes a stab at telling Ivan’s story in a way that flatters the Stalin regime. The plot portrays the boyars, the highest of bourgeois aristocracy, as internal enemies seeking to undermine the singular strength of Ivan’s leadership, a less-than-subtle parallel for the one-party Soviet state of the 1940’s.[/vc_column_text][vc_video link=”https://www.youtube.com/watch?v=kS5kzTbNKjs” title=”Battleship Potemkin (1925)”][vc_column_text]Like a dozen other Soviet films, The Battleship Potemkin depicts the horrors of the tsarist regime and a subsequent popular revolt. It dramatises the true story of a 1905 mutiny by the crew on a Russian battleship, but its most famous and enduring scene, the massacre on the Odessa steps, was entirely invented. However, unlike many of its comrades, this movie was internationally celebrated for its technical excellence, and was ranked as the 11th best film of all time in a 2017 BFI critics poll. Through the film’s five acts, Eisenstein demonstrates that propaganda and art are not mutually exclusive, and that the confines of oppression can sometimes breed incredible creativity.[/vc_column_text][vc_video link=”https://www.youtube.com/watch?v=riOLSslKvxU” title=”October: 10 Days That Shook the World (1928)”][vc_column_text]A retelling of Russia’s 1917 Revolution, this film creates a fascinatingly skewed representation of the Soviet Union’s rise. While the series of major events in the film is historically accurate, the depictions of Soviet leaders and opposition give the film’s biases away, as key facets of character and decisions are highlighted and hidden. When watching the film, pay special attention to the portrayals of Lenin and the Bolsheviks. [/vc_column_text][vc_video link=”https://www.youtube.com/watch?v=R-QBqT9RQAM” title=”Panfilov’s 28 Men (2016)”][vc_column_text]Panfilov’s 28 Men demonstrates how Russian manipulation of history did not end with the Soviet Union. Released in 2016, this film is based on a famous but disputed incident in World War II wherein a small group of Russian soldiers purportedly warded off a wave of Nazi tanks and soldiers, all dying in the process. The events were heavily embellished by Soviet propagandists and later debunked, but the film based on them was partially funded by the Russian Ministry of Culture and is widely advertised as an accurate depiction of historical events. Times change, but the Russian regime continues to use cinema to its benefit.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
This article is published in full in the Summer 2017 issue of Index on Censorship magazine. Print copies of the magazine are available on Amazon, or you can find information about print or digital subscriptions here. Copies are also available at the BFI, the Serpentine Gallery, MagCulture, (London), News from Nowhere (Liverpool), and Home (Manchester). Each magazine sale helps Index on Censorship continue its fight for free expression worldwide
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”From the Archives”][vc_row_inner][vc_column_inner width=”1/3″][vc_single_image image=”80560″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1177/0306422014523227″][vc_custom_heading text=”Reel Drama: WWII propaganda” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1177%2F0306422014523227|||”][vc_column_text]March 2014
David Aaronovitch argues that all’s fair in war against fascist dictatorship, including seducing the United States into war with pretty faces and British accents.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”89184″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1080/03064220512331339706″][vc_custom_heading text=”The ferghana canal” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1080%2F03064220512331339706|||”][vc_column_text]February 2005
The first 145 shots of a shooting-script by Sergei Eistenstein, a prologue to the modern drama of Uzbekistan’s reclamation of its desert wastes.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”98486″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1080/03064229108535073″][vc_custom_heading text=”Iron fist, silver screen” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1080%2F03064229108535073|||”][vc_column_text]March 1991
An examination of how film is an arm of party propaganda in Saddam Hussein’s Iraq, highlighting the 1973 Law on Censorship of Foreign Films.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_separator][vc_row_inner][vc_column_inner width=”1/3″][vc_custom_heading text=”100 Years On” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2F2017%2F06%2F100-years-on%2F|||”][vc_column_text]Through a range of in-depth reporting, interviews and illustrations, the summer 2017 issue of Index on Censorship magazine explores how the consequences of the 1917 Russian Revolution still affect freedoms today, in Russia and around the world.
With: Andrei Arkhangelsky, BG Muhn, Nina Khrushcheva[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”91220″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://www.indexoncensorship.org/2017/06/100-years-on/”][/vc_column_inner][vc_column_inner width=”1/3″][vc_custom_heading text=”Subscribe” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fsubscribe%2F|||”][vc_column_text]In print, online. In your mailbox, on your iPad.
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31 Jul 17 | Events
[vc_row][vc_column][vc_video link=”https://youtu.be/EbGIEmUhbLQ”][vc_column_text]Centre for Turkey Studies (CEFTUS), a London-based non-profit organisation that organises monthly events in London dedicated to Turkey, will be holding the sixth Annual Turkish, Kurdish and Turkish Cypriot Community Achievement Awards at the CEFTUS Anniversary Gala on 8 October. Index on Censorship is proud to be a partner in supporting this event.
CEFTUS is seeking nominations for the awards. If you know a Turk, Kurd or Turkish Cypriot who deserves recognition for their hard work in the community then we invite you to nominate them for an award. You can do this by filling out a nomination form with the name, contact details and a reason why you think your nominee qualifies them for an award. To fill out the form, please follow this link.
The categories are listed below:
Female /Male Role Model
Politics and Education
Law Firm/Lawyers
Community Organisations/Charity
Businessman of the year
Businesswoman of the year
Food and restaurants
Financial Services/Accountancy
Wholesalers/Production/best Employer
Young Entrepreneurs
More information about the CEFTUS Anniversary Gala can be found here.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
When: Sunday 8 October 2017 18:00-23:00
Where: Westminster Park Plaza Hotel, 200 Westminister Bridge Rd, Lambeth, London SE1 7UT
Tickets: Via CEFTUS
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10 Jul 17 | Artistic Freedom, News and features, Volume 46.02 Summer 2017 Extras, Youth Board
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The Summer 2017 issue of Index on Censorship magazine looks at the long-term consequences of 1917 Russian Revolution, which launched the global communist experiment, and the long-term impact that it had on free speech around the world. Here, three members of Index’s youth board give examples of works that failed to find favour with the authorities the revolution ushered in.
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The original Italian edition of Dr Zhivago. Credit: Wikimedia
Dr Zhivago – Boris Pasternak
Isabela Vrba Neves (Stockholm)
A depiction of Russian life between the Bolshevik Revolution and World War II, Dr Zhivago (1957) by Boris Pasternak is a piece of literature presenting the reader with romance and the tragedies experienced by Russians during the early twentieth century.
Dr Zhivago tells the story of Yuri Zhivago, a man suffering hardship throughout his life, from becoming an orphan to being in love with two women and arousing the suspicions of those in power. Through an intricate plot introducing many characters, Zhivago witnesses the revolution and civil war, all while exploring questions of religion and philosophy.
Pasternak submitted his book for publishing in 1956 but was rejected in the Soviet Union due to it containing anti-Soviet passages and criticism of the Bolsheviks. As a result, the book was banned in the Soviet Union until 1988. However, in 1957 a manuscript was smuggled to Milan, where it was first published.
The following year Pasternak was awarded a Nobel Prize in Literature, which he had to turn down after being threatened with ejection from the Soviet Union. The award was later accepted in 1988 by his relatives.
A film adaptation of Dr Zhivago was released in 1965, starring the late actor Omar Sharif and Geraldine Chaplin. Immensely popular in Europe and North America, the film adaption was also banned for many years in the Soviet Union.
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The cover of Stefan Zweig’s Beware of Pity. Credit: Wikimedia
The Collected Novellas of Stefan Zweig
Samuel Rowe (London)
As I was leaving a house on the outskirts of Copenhagen some summers ago, I was handed a bright orange hardback book. It was The Collected Novellas of Stefan Zweig. I was told that Zweig’s novel, Beware of Pity, had loosely inspired the 2014 Wes Anderson film The Grand Budapest Hotel and that Zweig’s works had been burned in the streets during the Third Reich. But this was not the first time his literature had been burned.
Not long before – 30 October 1929, to be precise – Krupskaia Lenin, wife of Vladmir, had sent out a circular to all librarians in the Soviet Union. It contained a list of literature considered decadent or which fostered “social pessimism”, and required they be removed from all public libraries. Zweig’s stories could have fallen into the former or the latter category; his stories were popular and hilarious, subversive and frank.
Once the procedure was completed, two copies of each title on the list were sent to the central library of each region, accessible only to qualified researchers.
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A poster for Bezhin Meadow. Credit: Wikimedia
Bezhin Meadow – Sergei Eisenstein
Sophia Smith-Galer (London)
One of the most famous films to have been scuppered by censorship in the Soviet Union was Bezhin Meadow, a film adaptation of the story Bezhin lug by Ivan Turgenev. The film, directed by Sergei Eisenstein, was believed to have been destroyed before its completion, but parts of it resurfaced in the 1960’s, allowing for a crude recreation.
The main character Ivan’s life story was based on the life of Pavlik Morozov, a young Russian boy who denounced his father to the Soviet Union and, ultimately, died at the hands of his family. It grew to become a story of political martyrdom after his death in 1932.
Sergei Eisenstein was nonetheless already a world famous film director – Battleship Potemkin (1925) is still used as an example of groundbreaking cinematography to this day – and is best remembered for pioneering the montage.
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This piece was written by members of Index on Censorship’s youth advisory board. You can find out more about the youth advisory board here
[/vc_column_text][/vc_column][/vc_row][vc_row content_placement=”top”][vc_column width=”1/3″][vc_custom_heading text=”100 Years On” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2F2017%2F06%2F100-years-on%2F|||”][vc_column_text]Through a range of in-depth reporting, interviews and illustrations, the summer 2017 issue of Index on Censorship magazine explores how the consequences of the 1917 Russian Revolution still affect freedoms today, in Russia and around the world.
With: Andrei Arkhangelsky, BG Muhn, Nina Khrushcheva[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_single_image image=”91220″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://www.indexoncensorship.org/magazine”][/vc_column][vc_column width=”1/3″ css=”.vc_custom_1481888488328{padding-bottom: 50px !important;}”][vc_custom_heading text=”Subscribe” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fsubscribe%2F|||”][vc_column_text]In print, online. In your mailbox, on your iPad.
Subscription options from £18 or just £1.49 in the App Store for a digital issue.
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27 Jun 17 | Artistic Freedom, Magazine, News and features, Volume 46.02 Summer 2017 Extras
[vc_row][vc_column][vc_custom_heading text=”As the Summer 2017 issue of Index on Censorship magazine looks at the modern implications of the Russian revolution 100 years on, Margaret Flynn Sapia lists 10 global songs inspired by revolutions of the last century”][vc_row_inner][vc_column_inner][vc_video link=”https://www.youtube.com/watch?v=Q2wneBVssPc&list=PLCY0ZVWasL3FginL7uuYQJy6JfXGIWmGu”][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
Music has an undeniable ability to move people; musicians can reach across borders and boundaries, pull at the heartstrings and say the unsayable. As a result, music has long been used to call for revolution, urging listeners to rise up against injustice and power. For the launch of Index on Censorship magazine’s summer 2017 issue, 100 Years On: What difference Russia’s revolution makes to our freedom today, we have compiled a playlist themed around the idea of revolution.
Tracy Chapman – Talkin ‘Bout A Revolution
In a world gripped by the denouement of the Cold War, Tracy Chapman saw change on the horizon. “Poor people gonna rise up /And get their share/ Poor people gonna rise up/And take what’s theirs” sums up the sentiment of Talkin ‘Bout A Revolution. Optimistic, perhaps, but the song arrived in 1988, at the cusp of a global uprising that saw the fall of Apartheid South Africa, the Soviet Union and several smaller communist regimes, as well as a Western ideological shift away from the ruthless capitalism of Thatcher and Reagan.
Gil Scott-Heron – The Revolution Will Not Be Televised
The Revolution Will Not Be Televised was released in 1970, at the end of a turbulent decade that saw the assassinations of several civil rights heroes including John F. Kennedy, Martin Luther King, Malcolm X and Fred Hampton. It calls on people to unite and take action beyond watching a television screen, warning that the revolution will not come with the glitz and glamour of television, and that the television will not be on their side. Gil Scott-Heron, an important figure and musician during the US Civil Rights movement, is keen to call for realistic understandings of how change can be achieved in this song.
The Specials – Nelson Mandela
The Specials’ Nelson Mandela drew popular attention to Mandela’s mistreatment in South Africa when it was released in 1984, bringing the injustice of his then two-decade imprisonment into common knowledge. When it was performed at a Wembley concert on Mandela’s 70th birthday in 1988, its chorus of “free Nelson Mandela” became a global rallying cry for the end of apartheid. Two years later, Mandela walked out of prison, and the apartheid regime fell shortly after.
David Zé – Mwangolé (O guerrilheiro)
One of Angola’s most renowned revolutionary artists, David Zé is particularly adept in his descriptions of the suffering and abuse of Angolans under Portuguese colonial rule. Mwangolé O guerrilheiro may not call for a specific course of revolutionary action, but its representation of the enduring pain and intolerable living conditions of Angolans remind listeners of what can drive a person to risk everything and revolt for their freedom. In a country that suffered through a generation-long civil war, that context can never be forgotten.
Carlos Puebla –Y en eso llego Fidel
“The fun was over, El Comandante came and ordered them to stop”, Puebla sings in this famous hymn to the Cuban revolution. Throughout the song, Carlos Puebla celebrates Castro’s arrival and overtake of the island, putting an end to capitalism’s prior corruption and exploitation of the island’s people. The droves of people who fled the subsequent corruption and exploitation by Castro’s communist regime might dispute the song’s celebratory tone.
The Korean People’s Army State Merited Chorus – Defend the Headquarters of the Revolution (혁명의 수뇌부 결사옹위하리라)
In North Korea, even revolutionary music – what should be defined and expressed by the people, free of censorship – is an unyielding expression and promotion of state power. Defend the Headquarters of the Revolution provides no mention of Korean culture or history preceding Kim Jong II, instead extolling the virtue of picking up arms for the Kims and fighting to the death, viewing this fight as a revolution against the rest of the world.
Vasily Agapkin – Farewell of Slavianka
Farewell of Slavianka (Proshchaniye slavyanki) became so popular during the 1917 Revolution that, despite its non-communist roots, the Soviet Union eventually adopted it as an official national song. This piece represents two fundamental components of revolution: popular sentiment during the people’s initial rebellion, and post-revolutionary appropriation of that sentiment into state propaganda.
Yulduz Usmonova – Ayting Ayting
Songs which explicitly detail Soviet occupation in Uzbekistan are scarce. However, songs sung in Uzbek instead of Russian (especially before the country’s independence) have long served as expressions of nationalism and rejection of the Russian hierarchy. Ayting Ayting is not a typical revolutionary song, but its defiance lies in its subtle refusal to conform to Russian norms.
Yoko Ono and John Lennon – Imagine
“Imagine there’s no countries, it isn’t hard to do, nothing to kill or die for”, sings John Lennon. This song co-written by Lennon and his wife Yoko Ono asks us to contemplate a different kind of revolution – not a singular uprising or struggle, but a new peaceful world where the divisions of religion and nationality have disappeared. The chorus of “You may say I’m a dreamer, but I’m not the only one” hints at the faint possibility of this future, if people could only come together long enough to realise how similar they are. In a sad irony, he was eventually assassinated by a mentally ill Christian extremist who considered this blasphemy.
Crosby, Stills, Nash and Young – Ohio
The Vietnam War and its national impact are deeply entrenched within US society, and have inspired countless pieces of art, film and music. Crosby, Stills, Nash and Young’s song Ohio was written in response to the 1970 Kent State University massacre, in which national guard soldiers opened fire on anti-war student protesters leaving four dead and nine wounded. The song was released just a few weeks after the incident, and placed the blame directly on the Richard Nixon administration. It was soon adopted as an anthem of the US’s anti-establishment movement.
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Print copies of Index on Censorship magazine are available on Amazon, or you can find information about print or digital subscriptions here. Copies are also available at the BFI, the Serpentine Gallery, MagCulture, (London), News from Nowhere (Liverpool), and Home (Manchester). Each magazine sale helps Index on Censorship continue its fight for free expression worldwide
[/vc_column_text][/vc_column][/vc_row][vc_row content_placement=”top”][vc_column width=”1/3″][vc_custom_heading text=”100 Years On” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2F2017%2F06%2F100-years-on%2F|||”][vc_column_text]Through a range of in-depth reporting, interviews and illustrations, the summer 2017 issue of Index on Censorship magazine explores how the consequences of the 1917 Russian Revolution still affect freedoms today, in Russia and around the world.
With: Andrei Arkhangelsky, BG Muhn, Nina Khrushcheva[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_single_image image=”91220″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://www.indexoncensorship.org/magazine”][/vc_column][vc_column width=”1/3″ css=”.vc_custom_1481888488328{padding-bottom: 50px !important;}”][vc_custom_heading text=”Subscribe” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fsubscribe%2F|||”][vc_column_text]In print, online. In your mailbox, on your iPad.
Subscription options from £18 or just £1.49 in the App Store for a digital issue.
Every subscriber helps support Index on Censorship’s projects around the world.
SUBSCRIBE NOW[/vc_column_text][/vc_column][/vc_row]
