Agit-prop Animation and the Enchanted World of Modernity: Screening Samoyed Boy in the Northern Outskirts of the USSR
International audience At the end of the 1920s in the Soviet Union, the animation fulfilledan agit-prop function, like other cinematographic genres. Adhering to the Sovietmovement for the cinematographic fact, animation rejected the illusion of “magic”and what the animators called the “cine-trick”....
| Published in: | Slovo |
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| Main Author: | |
| Other Authors: | , |
| Format: | Article in Journal/Newspaper |
| Language: | French |
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HAL CCSD
2019
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| Online Access: | https://hal.archives-ouvertes.fr/hal-02053223 https://hal.archives-ouvertes.fr/hal-02053223/document https://hal.archives-ouvertes.fr/hal-02053223/file/SLO48-49_Art3_EPI.pdf https://doi.org/10.46298/slovo.2019.5231 |
| Summary: | International audience At the end of the 1920s in the Soviet Union, the animation fulfilledan agit-prop function, like other cinematographic genres. Adhering to the Sovietmovement for the cinematographic fact, animation rejected the illusion of “magic”and what the animators called the “cine-trick”. However, in its uses, the animatedfilm, as well as the entire cinematographic device, were also used for their power ofwonderment. Technology, of which cinema is one of the manifestations, was envisagedas a privileged instrument for modernization and the fight against the beliefs of thepast that the regime wished to eliminate. This study aims to show the Soviet culturalworkers were caught up in the magic dimension of cinema, particularly in the Siberiancontext where cinema is perceived as a substitute for the shamanic session, seen by theadministrators as a spectacle to compete with. Taking the screening of the animatedfilm Samoyed Boy (1928) to an indigenous audience as a case study, this paper replacesthe animation about the peoples of the North in its context of diffusion using variousarchival documents (press, publications, production archives) in order to question themodernizing dimension of cinema, both in its representations and in its apparatus.Ultimately, it shows that the “magic” of cinematographic projection is invested as theenchanted space of the Sovietization of the country. À la fin des années 1920 en Union soviétique, le film d’animationremplit une fonction d’agit-prop, à l’instar d’autres genres cinématographiques.Adhérant au mouvement soviétique pour le fait cinématographique, l’animationrefuse l’illusion du « magique » et ce que les animateurs nomment alorsle « ciné-truc ». Cependant, dans ses usages, le film d’animation, et ledispositif cinématographique tout entier, sont aussi utilisés pour leur pouvoird’émerveillement. La technologie, dont le cinéma est l’une des manifestations, estenvisagée comme un instrument privilégié de la modernisation et de la lutte contreles croyances du passé que le ... |
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