This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
This article is talking about state management and cultural policy, their nature and content in term of the new tendency - development of postindustrial society. It mentioned here, that at the moment cultural policy is the base of regional political activity and that regions can get strong competitive advantage if they are able to implement cultural policy successfully. All these trends can produce elements of new economic development.
This book pulls together experts in the fields of economics and Russian culture, all participants in the Samuel P. Huntington Memorial Symposium on Culture, Cultural Change and Economic Development, a follow-up to the 1999 Cultural Values and Human Progress Symposium at Harvard University. As the sequel to the 2001 volume Culture Matters, it discusses modernization, democratization, economic, and political reforms in Russia and asserts that these reforms can happen through the reframing of cultural values, attitudes, and institutions.
Belarusian Yearbook 2013 presents a comprehensive analysis of the key developments in the main sectors of the state and society. Since its inception a decade ago, the Belarusian Yearbook has evolved as a crucial annual initiative of the Belarusian analytical community to compile, conceptualize and present a chronicle of Belarus contemporary history. Contributing to Belarusian Yearbook 2013 were independent analysts and experts, as well as specialists representing varios think tanks, including the Belarusian Institute for Strategic Studies (BISS, Vilnius, Lithuania), the Research Center of the Institute for Privatization and Managment (Minsk, Belarus), NOVAK Axiometrical Research Laboratory (Warsaw, Poland), the Belarusian Ecomomic Research and Outreach Center (BEROC, Minsk, Belarus), the Center for Eastern Studies (Warsaw, Poland), the expert community of Belarus Nashe Mnenie (Our opinion), the Agency of Humanitarian Technologies, the Independent Institute of Socio-Economic and Political Studies (IISEPS), eBelarus Research Center, Agency for Social and Political Expert Appraisal.
In this article. the author tries to argue about how you can consider Soviet culture monolithic and not suggesting for the artist and the intellectual for any deviations from the official line.
It would seem that the totalitarian regime creates all the condition for eliminating the independent search for the individual style, nevertheless, in the depths of a totalitarian culture, resistance practice may appear.
The author gives a number of examples of such resistance in Soviet culture.
This article explores the process of the seizure of peasants’ property during the campaign to “liquidate the kulaks as a class” at the beginning of the 1930s. It describes in detail the manifestation of arbitrary rule in Perm region, analyzes directives emanating from regional party bodies, and reveals the links between arbitrary rule in the localities during the course of “dekulakization” and Stalin’s policy aimed at changing the social structure of Soviet society. The author examines numerous local cases and argues that the seizure of peasants’ property led directly to the destruction of an entire social group: peasant-owners. Official promotion of “kulak liquidation,” unrestrained by any legal regulations and accurate instructions, in fact stimulated local leaders to take radical action. This campaign to “liquidate the kulaks as a class” constituted the main element of Stalin’s social-engineering policies in the early 1930s: large-scale “dekulakization,” with its attendant massive intrusion into the institution of private ownership, played a very serious role in the social transformation of Soviet society in 1930s. A study of these processes at the regional level allows for an in-depth analysis of the Soviet state’s repressive policy toward the peasantry.
A survey of the Samizdat Archive of the Institute of Eastern Europe in Bremen. Introductory texts and annotated catalogue.
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.