Documents found
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82.More information
This article examines the filmic representation of Chukotka and its inhabitants from the earliest days of the moving image to the films distributed on the Internet. This century of filmic images of Chukotka can be divided into three main moments. The first is that of the beginning of silent cinema, when Chukotka attracted operators from various horizons in search of spectacular images of a faraway world and its “exotic” inhabitants. From the advent of Bolshevik power, and more particularly during the Stalinist period, a repertoire of globally homogeneous motifs was established around the staging of the liberation of the Chukchi by the authorities. The last moment, that of an indigenous cinema of Chukotka, begins in the 1970s with the shift of the Chukchi writer Yuri Rytkheu to the screenplay, giving birth to a Siberian cinema that will truly flourish in the post-Soviet period. This long-term analysis allows us to bring to light the ruptures and continuities in the regime of representation, i.e. the repertoire of images that interact with each other at a given historical moment, from Chukotka to the screen. It also makes it possible to question in its complexity the long Soviet moment in which the natives of Chukotka, often generically presented as Chukchi, are particularly present on the screen and in which, thanks to the Soviet policy of promotion of minorities, one of its representatives is able to pass behind the camera.
Keywords: Cinéma autochtone, cinéma soviétique, représentations des Autochtones, Iouri Rytkhéou, Tchoukotka à l'écran, Indigenous cinema, Soviet cinema, representations of indigenous people, Yuri Rytkheu, Chukotka on the screen, Аборигенное кино, советское кино, образы коренных народов, Юрий Рытхэу, Чукотка на экране
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84.More information
Orthodoxy has gradually regained its political and cultural centrality in the post-Soviet space. If the example of Putin‘s Russia illustrates this tendency to confuse religion and politics for illiberal or nationalist purposes, Ukraine is not to be outdone. In addition to Petro Poroshenko‘s affirmation of a traditionalist and populist religious discourse, recent years have seen the emergence of Christian (ultra)nationalist currents. As similar as they may be to other ultranationalist movements that militate for the rebirth of a Ukraine emancipated from the Russian yoke, these fundamentalists are nevertheless distinguished by their revisionist Orthodoxy. Built around a national mythology of which the Tomos of 2019 would be the providential outcome, their discourse proposes with religion a new ontology of “Ukrainianness”. In this respect, the geographical space in which this Ukrainianness is supposed to be asserted is very important. This space is part of a specific imaginary that we propose to analyse.
Keywords: Ukraine, extrême droite, orthodoxie, guerre, géopolitique, imaginaires géographiques, Ukraine, far right, Orthodoxy, War, Geopolitics, Geographical Imaginaries
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