„Most important of the arts”: cinema and the politics of memory in USSR and Russia

General data

Course ID:	4018-KONW160
Erasmus code / ISCED:	08.0 Kod klasyfikacyjny przedmiotu składa się z trzech do pięciu cyfr, przy czym trzy pierwsze oznaczają klasyfikację dziedziny wg. Listy kodów dziedzin obowiązującej w programie Socrates/Erasmus, czwarta (dotąd na ogół 0) – ewentualne uszczegółowienie informacji o dyscyplinie, piąta – stopień zaawansowania przedmiotu ustalony na podstawie roku studiów, dla którego przedmiot jest przeznaczony. / (0220) Humanities (except languages), not further defined The ISCED (International Standard Classification of Education) code has been designed by UNESCO.
Course title:	„Most important of the arts”: cinema and the politics of memory in USSR and Russia
Name in Polish:	„Najważniejsza ze sztuk”. Kino w polityce historycznej ZSRR i Rosji
Organizational unit:	Faculty of "Artes Liberales"
Course groups:
ECTS credit allocation (and other scores):	(not available) Basic information on ECTS credits allocation principles: the annual hourly workload of the student’s work required to achieve the expected learning outcomes for a given stage is 1500-1800h, corresponding to 60 ECTS; the student’s weekly hourly workload is 45 h; 1 ECTS point corresponds to 25-30 hours of student work needed to achieve the assumed learning outcomes; weekly student workload necessary to achieve the assumed learning outcomes allows to obtain 1.5 ECTS; work required to pass the course, which has been assigned 3 ECTS, constitutes 10% of the semester student load. view allocation of credits
Language:	Polish
Type of course:	elective courses
Short description:	Soviet and Russian cinema in the context of state history-based politics. An additional outcome will be specific specialist knowledge on the film and Russian studies issues covered by the course. http://cinema.mosfilm.ru/ http://ruskino.ru/; https://www.mtstv.ru/ ; http://kinopod.org/about.html
Full description:	A review of the history of historical cinema in the Soviet Union and the Russian Federation in the context of history-based politics, including its links to official propaganda and historiography. The course outlines the circumstances in which individual films were made, the relation of the plot to official interpretations, and also the role of cinema in forming society's historical awareness. Separate consideration will be given to educational functions, including links to other artistic disciplines. Cases of conflict between the artistic vision and the official interpretation of history will also be shown. Analyses will encompass classic feature films and selected documentaries. 1. The dawn of the revolution: Battleship Potemkin, Storm over Asia 2. In search of a proletarian hero: Chapaev, Shchors, Kotovsky 3. Aleksandr Nevsky – an untimely masterpiece 4. The dispute over Ivan the Terrible – Eisenstein, Stalin and... historians 5. Great rebels: Ryazin and Pugachov 6. Settling accounts with “lordly Poland”: Bogdan Khmelnitsky and Taras Bulba 7. About the Time of Troubles: Minin and Pozharsky and 1612 8. The Wild East myth: The Thirteen and White Sun of the Desert 9. To the glory of special services: Operation Trust 10. The war gospel according to Yuri Ozerov: Liberation 11. Nostalgia for the old order: Agony (1981) 12. In search of a state cult: The Admiral 13. Relativization of Stalinism: Nikita Mikhalkov and his trilogy 14. The new returns: Fortress of War 15. Memento for an empire: Vizantiyskiy Urok (2008) Note: the topics may be discussed in a different order, depending on the teaching needs and the interests of the participants.
Bibliography:	M. Banaszkiewicz, Zapętlenie polityki historycznej – przypadek rosyjski, w: Państwo i Społeczeństwo, VIII, 2008, nr 2 Czernienko M. M. Bliska zagranica : szkice filmowe o Polakach i dla Polaków / pod redakcją Tadeusza Lubelskiego. — Warszawa 2007; R. Jurieniew, Historia filmu radzieckiego, Warszawa 1977; Peter Kenez, Cinema and Soviet Society: From the Revolution to the Death of Stalin (London 2001) B. Mucha, Sztuka filmowa w Rosji 1896-1996, Piotrków Trybunalski 2002 Ł. Jasina, Wyzwolenie (1968-1975) Jurija Ozierowa jako prezentacja oficjalnej wersji historii II wojny światowej w kinematografii radzieckiej, Lublin 2007; Propaganda historyczna Rosji w latach 2004–2009, Warszawa: BBN, 16 września 2009 R. Taylor, Film Propaganda: Soviet Russia and Nazi Germany (New York: I.B.Tauris, 1998). J.Wojnicka, Awangarda i tradycja, czyli jak rosyjscy filmowcy stworzyli rewolucję [w:] „Didaskalia" 2008, nr 85-86; J. Wojnicka, Dzieci XX Zjazdu. Film w kulturze sowieckiej lat 1956-1968, Kraków 2012 J. Wojnicka, Kino Rosji carskiej i Związku Sowieckiego, [w:] Historia kina, t.1, Kino nieme, red. - T. Lubelski, I. Sowińska, R. Syska, Kraków 2010 Зоркая Н. История советского кино. -СПб., 2005; История отечественного кино / Отв. ред. Л. В. Будяк. М.2005 Черненко М. М.. Красная звезда, жёлтая звезда: Кинематографическая история еврейства в России, 1919—1999.М.2006. Кино тоталитарной эпохи. Международный симпозиум в рамках XVI ММКФ//ИК. 1990. № 2 Szczegółowa bibliografia do poszczególnych tematów zostanie podana w trybie roboczym.
Learning outcomes:	Participants will be able to trace – on the example of the Soviet Union and Russia – the process of building a state's official historical narrative with the help of cinema. Important outcomes include the students' mastering of the main methods in studying issues from history and film studies. Upon completing the course students should be able to work on their own with film as a special kind of historical source, know how to use the basic auxiliary sciences of history for artistic sources and mechanical documentation.
Assessment methods and assessment criteria:	Credits will be based on students' achievements during classes (being active, being prepared – erudite mastering of the material, invention, standard of presentation of a given topic) and a written paper on a selected issue from the range covered by the course.

This course is not currently offered.

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