Paragone: notes on hegemony and realism in the 1950s

This article focuses on the literary review Paragone and on the debate on realism articulated by the review and by the Cultural Commission of the Italian Communist Party (PCI) in the 1950s. By analysing the review’s internal composition, correspondence between its contributors, and records of the PCI’s Cultural Commission, this article highlights a series of issues relating to the debate on realism in the 1950s, as a critical time, in both aesthetic and political terms, for the determination of Italian culture’s identity profile. Specifically, the article discusses the key features of the debate on realism that unfolded in Paragone, and relates these to the debate simultaneously developing within the Cultural Commission. This comparison allows us to argue for a close connection between the aesthetic habitus displayed by an independent review and that embraced by a cultural institution with a distinctly political as well as cultural agenda.     

Domesticating the Frontier: Gender,Empire and Adventure Landscapes in British Cinema, 1945–59

Before 1945, films of the empire genre, produced in Hollywood as well as Britain, celebrated the masculinity of the British adventure hero, and promoted an imperial world view. This article explores the significance of the incorporation of white women into empire films in the late 1940s and 1950s, focusing on three films from different moments in the period. What are the range of meanings assigned to white femininity in these films, and their significance to the politics of race and gender? How is the white woman represented in relation to colonised women and men? In addressing these questions the article considers shifts in the gendering of the empire genre as part of an attempt to address a range of anxieties – about the transition from empire to Commonwealth, the rise of American power, and the collapse of boundaries between colonisers and colonised.     

Absurd Avatars,Transcultural Relations: Elia Suleiman,Franco-Palestinian Filmmaking and Beyond

This article illuminates the threads of connection drawing together the work of the Palestinian filmmaker Elia Suleiman and French cultural production, while acknowledging the broader international contexts of these connections. The transcultural relations identified in the article title are a means of articulating these concerns. Suleiman's films, funded by French production companies and supported by French film festivals, have a tacit connection to France. Suleiman's mute self-representation within his films also draws upon auteurist and absurdist tropes familiar to European literature and art in the twentieth century. First discussing the broader cultural and geopolitical contexts of Franco-Palestinian filmmaking, the article then engages closely with critical tropes of the Absurd and human gesture in relation both to the critical reception of Suleiman's films, and the films' aesthetics, specifically in his recent feature films Divine Intervention (2002) and Le Temps qu'il reste/The Time that Remains (2009). Offering an alternative articulation of these complex transcultural relationships, the article explores Suleiman's position as a mute filmic figure and auteur director. It re-opens an often ‘unspoken’ dialogue of Franco-Palestinian cinematic relations which has been frequently designated as historical or political, rather than also and in equal measure, cultural, aesthetic, ethical and personal. At the same time, it seeks to open out these dialogues beyond France and Palestine, towards transcultural relations between Europe, the Middle East, North Africa and North America.     

The Cold War's cultural ecosystem: angry young men in British and Soviet cinema, 1953–1968

Using examples from postwar British and Soviet cinema, this article interprets European Cold War culture within the framework of a shared cultural ecosystem. The case study of reformist movements in 1950s and 1960s British and Soviet cinema makes clear that analogous sociopolitical and economic developments across postwar Europe inspired film heroes, narratives, and aesthetics that transcended national and ideological borders. The concept of a continent-wide cultural ecosystem elucidates how and why specific cultural phenomena—such as the figure of the “angry young man”—reflect an existence of a dynamic trans-systemic Cold War culture.     

Social engineering and cultural policy – theoretical and empirical reflexions from Swedish cultural policy in a historical perspective

This article explores the influence of social engineering in various forms within Swedish cultural policy, seen in a historical perspective. In social engineering cultural policy measures, reforms and projects are justified by scientifically based research rather than party based ideological arguments. Karl Popper’s classification of the utopian and the step-by-step engineering make up the starting point, redefined as paternalistic engineering, welfare state engineering and utilitarian engineering in order to apply these ideas to cultural policy. Social engineering was predominant in Swedish cultural policy mainly during the post war period. In the 1950s as well as in the 1970s this engineering takes on a paternalistic character, in the struggle against injurious culture, such as video violence. Current practice of paternalistic engineering is directed at revealing and identifying invisibles structures in the field of cultural heritage. The welfare state engineering had its highlights in the planning era of the 1960s and the 1970s, and today culture as a beneficial factor for both citizens and society is labelled utilitarian engineering.     

The Levelling Process as a Function of the Masses in the View of Kierkegaard and Ortega Y Gasset

The present article is an analysis of the emergence of a new Uruguayan author, Armonía Somers (1914–94), as well as the publication in 1950 of her first novel, La mujer desnuda (The Naked Woman). It focuses on the Uruguayan social body of the 1950s, when society lived the paradox of recognizing women in its legal structure, but limiting them in the everyday social and cultural life. In this context, Somers's novel symbolically explores what I call the “crisis of feminine subjectivity,” through the creation of a woman who on her thirtieth birthday decided to throw away all the costumes and masks with which society and tradition imposed feminine roles and, naked, tried new ways of being, new subjectivities. Central to this study is an analysis of the different ways in which historical, social, and cultural demands produce certain kinds of human bodies, especially how they produce a woman's body. The specific argument that underlies this article is that the body inserts itself in conflictive and tense manners with the marks imposed on the genders. This article's theoretical contribution lies in its emphasis on the aesthetic and ethical ramifications of “feminine subjectivities” and “historical marked bodies” in a fiction that presents itself as a black box in which Somers finds herself as a woman who became a novelist in the 1950s and in which readers also find themselves questioning the persistence of gender marks on their own social bodies.     

Reinventing the British film industry: the Group Production Plan and the National Lottery Franchise Scheme

This article is a comparative analysis of two analogous attempts to restructure the British film industry: the Group Production Plan of the early 1950s and the National Lottery Franchises of the late 1990s. The Group Production Plan brought together key industry figures such as Michael Balcon and John Grierson, who endured a fraught working relationship. The Plan failed, largely due to indifference from the major combines, Rank and the Associated British Picture Company (ABPC). Forty‐five years later, the Lottery Franchises were criticised for failing to produce enough films, although the example of Pathé Pictures suggests that expectations were too high and resources too low. The economic theory of path dependence problematises the policy drive to create vertically integrated companies. This article concludes that historical precedent plays an insufficient role in British film policy discourse and that academic research in cultural policy should aim to improve the dialogue between the past and the present.     

Was cultural deprivation in fact sensory deprivation? Deprivation, retardation and intervention in the USA

In the 1950s, the term "deprivation" entered American psychiatric discourse. This article examines how the concept of deprivation permeated the field of mental retardation, and became an accepted theory of etiology. It focuses on sensory deprivation and cultural deprivation, and analyzes the interventions developed, based on these theories. It argues that the controversial theory of cultural deprivation derived its scientific legitimization from the theory of sensory deprivation, and was a highly politicized concept that took part in the nature-nurture debate.     

'Poverty,prostitution, filthy tavernas': cinephilia and popular Greek film of the fifties

Abstract

The diametrically opposed critical and commercial reception of two Greek films from the early 1950s exposes the contradictions inherent in the project of national cinema formation articulated by Greece's cinephile press. Critics such as Eleni Vlachou and Marios Ploritis sought to locate Greek film within the context of a realist–humanist European art cinema, and denigrated the commercial cinema for its over-reliance on foreign models and popular genres. This cinephile discourse reveals, however, keenly felt anxieties of cultural authority and status, anxieties manifest in the constant shifting between the twin semantic poles of cultural indigeneity and foreign cinematic influence.     

‘No protection against the H-bomb’: press and popular reactions to the Coventry civil defence controversy, 1954

This article examines British popular and media reactions to America's Bravo test shot in April 1954 and Coventry City Council's subsequent decision to abandon civil defence. The article finds that three key motifs emerged which relate to Britain's broader sense of national identity in the 1950s. First, the controversy formed part of a cultural battle for national identity between a conservative and potentially militaristic culture, and one which was more progressive and opposed war and nuclear armaments. Second, opponents labelled the councillors as Moscow stooges and this revealed underlying anti-communism. Third, reactions engaged with a secular strain of Cold War apocalypticism.     

Living with Hollywood: British film policy and the definition of ‘nationality’

Focusing upon how a ‘national’ film has been historically defined in Britain, this article traces the history of legal definitions of a ‘British’ film and identifies some of the issues around nationality that these have raised. The article begins with a discussion of the introduction of quotas for ‘British’ films in the 1920s and the adoption of the Eady levy as a means of providing production finance to ‘British’ films in the post-war period. It then goes on to examine the introduction, in response to EU regulations governing the film industry, of a ‘Cultural Test’ for ‘British film’ in 2007 and to consider the way in which eligibility for tax reliefs has depended upon a film qualifying as ‘British’. In assessing whether the Cultural Test may be regarded as constituting a ‘break’ in British film policy in terms of a shift from economic to cultural objectives, the article not only indicates the manner in which cultural and economic objectives have been brought into alignment but also identifies how the definition of the ‘national’ for the purposes of tax relief has been designed to encourage ‘transnational’ Hollywood production within the UK. In doing so, the article also indicates how ‘national’ discourses and practices have continued to inform and structure the economic and cultural dynamics of contemporary ‘British’ cinema as well as engaging with, rather than necessarily standing in opposition to, ‘transnational’ and globalising trends.     

Reversing the view of ‘political pilgrims’: re-examining Italian travelogues about China in the 1950s

Scholars often consider the mostly positive representations of China by Italian visitors in the 1950s as the false and embellished depictions of political pilgrims. This article challenges this oversimplified interpretation. Based on evidence from commonly cited travel accounts, this article argues that Italian writers’ leftist political sympathies did not necessarily lead to self-censorship or intentional embellishment of China, nor did the host country’s control and surveillance over foreigners simply make Italian visitors willing to cooperate or produce positive feedback. Putting these travel accounts in their social and historical contexts, the article shows that Italian intellectuals’ positive representations of China in the 1950s, as well as the severe criticisms that were raised in the 1960s and 1970s, were rooted in reality and reflected the radical changes in Chinese society and Sino-Italian relations over the course of the Maoist era (1949–1976).     

Oral/Past Culture and Modern Technical Means in the Literature of the Twentieth Century in Greenland

Abstract

The present article takes as its starting point a short story from 2001 and relates it to the development of the Greenlandic literature in the twentieth century. The Greenlandic literature evolved around 1900 and mirrors the socio-political trends and the stages of nation building through the twentieth century. The overall tendencies of the century start with a striving towards more knowledge of and competence in European culture (including technical know-how) before 1950. Then a feeling of overwhelming impact from Danish culture followed during the Danification policy of the 1950s, 1960s and 1970s and this resulted in a protest movement in the 1960s and 1970s and Home Rule from 1979. However, if we read the literature in details and supplement it with the contemporary newspapers a much more diverse picture of an appropriation process (i.e. a conscious adaptation of selective parts of the impact from outside) emerges. The present article focuses on how these sources give us glimpses of an ongoing debate already in the first half of the twentieth century i.e. in colonial times: the Greenlandic population was not just passively under colonial domination. The history of the twentieth century is the history about a fairly well functioning appropriation of technical means and cultural impact from outside up till 1950, and then – after three decades of heavy modernization and Danification –-a process from 1979 on towards more and more agency in a “ glocalized” Greenland.     

Contemporary ‘Folk’ Dynamics: Shifting Visions and Meanings in the Goalpariya Folk Music of Assam

Abstract

Goalpariya music is a genre of folk music sung primarily by women. Common among the rural labouring classes, the songs deal with women’s desires, emotions, sensuality, and longings. Since the 1950s, major transformations have emerged within the performative space of the folk tradition, especially with the coming of Pratima Barua Pandey into this field. From an original mundane setting, Goalpariya music has now moved to an international musical performance context. This article explores this transition of the music from the ‘common folk’ to a ‘respectable’ platform. The article analyses how folk traditions may undergo a range of shifts to adapt to various social, economic, and cultural forces. Paradoxically, these transformations also lead to the emergence of a politics of authenticity, leading to a questioning of the concepts of tradition, authenticity, and cultural purity. The findings of this study are the outcome of fieldwork conducted in Gauripur and Guwahati in Assam, India.     

‘Not Like the Stories I am Used to’: East German Film as Cinematic Memory in Contemporary Chile

This paper is concerned with East German films which deal with the subject of Chile in the aftermath of the 1973 coup d’état in a contemporary Chilean cultural framework. Conceived in the charged political atmosphere of the Cold War, this material is valuable in Chile today because it reflects East Germany as a cultural and social environment for Chilean émigré artists during the 1970s and 1980s. The author explores the films’ potential as a form of cinematic postmemory for younger Chilean audiences, focusing on two feature films, Die Spur des Vermißten (1980) and Blonder Tango (1985). Do young Chileans accept these images as truthful and do they inspire a rethinking of the controversial subject of the Pinochet regime? The results suggest that the DEFA films, due to their narrative and aesthetic textures, present this audience with challenging perspectives, uncover misconceptions and evoke empathy with antagonistic social and political agents. Based on this case study, the author argues that the DEFA films are audio-visual materials which can be highly productive in cultural and educational contexts and can complement efforts to revive collective memory in Chile.     

“Where nothing was before”: (re)producing population and place in Ghana's Volta River Project

Significant infrastructural projects, and especially large hydroelectric dams, were envisioned and deployed by postcolonial governments to promote particular visions of industrialization, agriculture, democracy, and modernity. Newly independent states sought to annihilate formerly so-called backward and primitive landscapes and populations alike, promising to re-create both places and people as rational, economically productive entities. In this article, we re-examine such narratives as they related to Ghana's Volta River Project (VRP). Relying on archival and media sources between the 1950s and 1960s, we interrogate the Ghanaian state's pursuit of the VRP from a perspective rooted firmly in cultural geography and pay careful attention to the issues of population displacement/resettlement and landscape reconfiguration that permeated all dimensions of the project. We analyze the ways in which Ghanaian leaders used the VRP to translate a particular suite of cultural, economic, and political values into material reality, utilizing the techniques of displacement and population resettlement in efforts to enroll Ghana into a modern, global, industrial economic system. As such, this article augments the body of literature examining the modernist and state-building aspects of the VRP as well as studies critiquing the various processes of development that have unfolded in West Africa since the mid-twentieth century.     

Choosing What to Remember in Neoliberal Singapore: The Singapore Story,State Censorship and State-Sponsored Nostalgia

This article interrogates the persistence of heavy-handed censorship of political films in Singapore at a time of cultural liberalisation when the state has generally shown greater tolerance for alternative political expression in theatre, the literary arts, academia and public events. Part of this has to do with the focus of these films on political dissidents and their greater capacity to present a fundamental challenge to The Singapore Story, which is the regime-legitimising official account of Singapore’s history. It also has to do with the power and outreach of relatively low-budget independent films and the documentary genre in particular to evoke alternative histories vividly, give voice to the silenced, and channel these voices digitally into the collective cinematic and social media experience of the present. With the jubilee celebrations of 2015, the ruling party has been working hard to regain hegemony after experiencing its worst electoral losses in the 2011 general elections. Its main approach for achieving this has been to sponsor widespread national nostalgia coupled with highly selective censorship of political films that challenge the dominant official discourse in ways that can erode the government’s electoral dominance and political authority.     

Cinematic Revolution: Cosmopolitan Alter-cinema of Pre-revolutionary Iran

In the late 1950s, when Iran was witness to the withering away of social norms and everyday practices concomitant with the country's rapid urbanization, a group of young Iranian film directors embarked upon a new cinematic trend, in attempts to screen the ethereal quotidian of Iranian life. Defining itself against what was perceived to be the “cheap” and “repetitive” commercial “Film Farsi” industry of the time, this alternative (alter-)cinema fused the local and global, by incorporating international cinematic elements in socially and politically conscious national films, and projecting them on local and international screens. Problematizing a homogeneous conception of historical time that subsumes the history of cinema into a conventionalized grand narrative of the Iranian 1979 revolution, this article works with a conception of heterogeneous historical time that first interrogates cinematic temporality autonomously and then in relation to the political history of Iran, especially the events of the 1978–79 revolution. This article explores how the distinct cosmopolitan alter-cinema of pre-revolutionary Iran was born from a cinematic rupture in the 1950s, prompted by series of critiques and professional expectations that colored the attention paid to the vernacular and quotidian in film production.     

Making heritage at the Cannes Film Festival

This paper is a discussion of how and why film should be considered heritage, by analysing the role of the Cannes Film Festival (CFF) in turning films into a form of heritage, through a number of different initiatives focused on the preservation and promotion of films as heritage. In doing so, the present article charts the evolution of the CFF against the background of cultural diplomacy and heritage. Studying the CFF from a heritage perspective will contribute to theoretical debates that situate film festivals as places where memories and identities are contested and negotiated. The paper will show that these heritage-making initiatives are a result of the ability of the CFF to respond to changes taking place in an age of international contact, to accommodate new trends, new films and emerging national film industries. Within this context, this paper also addresses a gap in film festival scholarship by engaging in heritage theory to further expand cultural and heritage insights.     

Behind the Ties that Bind: Diaspora-making and Nation-building in China and India in Historical Perspective, 1850s-2010s

Whereas the rare existing comparative studies of Chinese and Indian diaspora policies have focused on recent periods following economic restructuring in both countries, this article, using a historical perspective, looks at diaspora policies in both countries from the angle of conceptions of the nation. Comparing three specific periods – the early twentieth century, the period between the 1950s and the 1970s, and the period since the 1970s – the article argues that there was a similarity between China and India in terms of how conceptions of the nation expanded and contracted together with both domestic and international changes during these periods, in spite of differences in nationality laws. As such, it demonstrates that countries with nationality laws based on jus sanguinis are not necessarily always more inclusive towards diaspora populations than those with nationality laws based on jus soli. In both cases, there is a tension at work between a state-led paradigm that is territorial in nature and ethnic and cultural notions of nationhood.