{"id":1041,"date":"2022-03-16T12:24:50","date_gmt":"2022-03-16T09:24:50","guid":{"rendered":"https:\/\/translatingmemories.tlu.ee\/?post_type=events&#038;p=1041"},"modified":"2022-03-16T12:24:51","modified_gmt":"2022-03-16T09:24:51","slug":"diana-popa-korraldatud-paneel-female-historical-cinema-and-the-workings-of-memory-in-central-and-eastern-europe-2022-scms-konverentsil","status":"publish","type":"events","link":"https:\/\/translatingmemories.tlu.ee\/et\/events\/diana-popa-korraldatud-paneel-female-historical-cinema-and-the-workings-of-memory-in-central-and-eastern-europe-2022-scms-konverentsil\/","title":{"rendered":"Diana Popa korraldatud paneel &#8220;Female Historical Cinema and the Workings of Memory in Central and Eastern Europe&#8221; 2022 SCMS konverentsil"},"content":{"rendered":"\n<p>\u00dchinege Diana Popa korraldatud paneeliga <strong>\u201cFemale Historical Cinema and the Workings of Memory in Central and Eastern Europe\u201d<\/strong>\u00a02022 Society for Cinema and Media Studies iga-aastasel konverentsil, Chicago, Illinois, 31. m\u00e4rts \u20143. aprill (online). Rohkem informatsiooni <a href=\"http:\/\/Historical cinema is an important part of the Central and Eastern European filmic landscape (Dina Iordanova). It serves as an instrument for the (re)construction of national identities (Thomas Elsaesser) and a vehicle for the politics of memory (Aleida Assmann, Astrid Erll). Regardless of whether monumental or critical (Nietzsche), the CEE historical cinemas used to be created by men and they primarily took into account the male perception of the past, i.e. focused on Great Men and landmark events. Told from the perspective of subordinate nations, the CEE historical cinemas often became part of the subordinate chain, valorizing subjugated nations but at the same time avoiding social history and rejecting the perspective of women or ethnic minorities. Thus, the productions that break this pattern have not been thoroughly researched.  In our panel, we focus on historical cinema in Central and Eastern Europe that is made by women (both directing and non-directing roles), which focuses on female protagonists and hence constructs a female perspective across a variety of historical sub-genres (epics, melodramas, biopics, documentaries, Holocaust films). The papers in this panel seek to answer the following questions: How do historical films made by or with the significant contribution of women negotiate the boundaries between individual and collective memory? To what extent the \u201cfemale\u201d use of visual patterns and templates contributes to obscuring or uncovering forgotten histories (for example, the Romani genocide during the Second World War)? How does a focus on women\u2019s personal memories provide new understandings of Soviet style repression? What does a focus on non-directing creative female contributions reveal in relation to established historical genres such as the epic, the biopic or the Holocaust film \u2013 given that the genre is among the least accessible to female crew?  In the films we have selected \u2013 Papusza, M\u00e9sz\u00e1ros\u2019s Diary films, Aurora Borealis, Morome\u021bii \u2013 The Edge of Time, Eternal Winter, \u201cI Don\u2019t Care if We Go Down in History as Barbarians\u201d\u2013 history that shapes and determines the lives of individuals and nations in this part of Europe is captured through the prism of an individual immersed in it, who tries to negotiate herself and her place in community. The history experienced and recalled by women is marked with\/by the (un)consciousness of its situatedness, by the perception from a specific, individual perspective, through the prism of personal experiences. The trauma that is often the result of these experiences translates into the way history is presented. Individual memories are intertwined with visual patterns and templates elaborated on the level of culture \u2013 and enabled by the female situatedness of filmmakers and film protagonists alike.  CHAIR: Diana Popa (Tallinn University)  RESPONDENT: Anik\u00f3 Imre (University of Southern California)  PARTICIPANTS:  El\u017cbieta Durys (University of Warsaw) \u201cReclaiming Minority Female Past in Polish Contemporary Historical Cinema: Papusza by Joanna Kos-Krauze and Krzysztof Krauze\u201d Diana Popa (Tallinn University) \u201cGhosts of the Past: Memory and Political Repression in M\u00e1rta M\u00e9sz\u00e1ros\u2019s Diary for my Children (1982)\u201d Andrea Virgin\u00e1s (Sapientia University Cluj-Napoca) \u201cRestorative memory work in a female mode? Eastern European historical films and female creative involvement\u201d  This panel is sponsored by the ERC funded project \u201cTranslating Memories. The Eastern European Past in the Global Arena\u201d.\">siit<\/a>.<\/p>\n\n\n\n<p>Historical cinema is an important part of the Central and Eastern European filmic landscape (Dina Iordanova). It serves as an instrument for the (re)construction of national identities (Thomas Elsaesser) and a vehicle for the politics of memory (Aleida Assmann, Astrid Erll). Regardless of whether monumental or critical (Nietzsche), the CEE historical cinemas used to be created by men and they primarily took into account the male perception of the past, i.e. focused on Great Men and landmark events. Told from the perspective of subordinate nations, the CEE historical cinemas often became part of the subordinate chain, valorizing subjugated nations but at the same time avoiding social history and rejecting the perspective of women or ethnic minorities. Thus, the productions that break this pattern have not been thoroughly researched.<\/p>\n\n\n\n<p>In our panel, we focus on historical cinema in Central and Eastern Europe that is made by women (both directing and non-directing roles), which focuses on female protagonists and hence constructs a female perspective across a variety of historical sub-genres (epics, melodramas, biopics, documentaries, Holocaust films). The papers in this panel seek to answer the following questions: How do historical films made by or with the significant contribution of women negotiate the boundaries between individual and collective memory? To what extent the \u201cfemale\u201d use of visual patterns and templates contributes to obscuring or uncovering forgotten histories (for example, the Romani genocide during the Second World War)? How does a focus on women\u2019s personal memories provide new understandings of Soviet style repression? What does a focus on non-directing creative female contributions reveal in relation to established historical genres such as the epic, the biopic or the Holocaust film \u2013 given that the genre is among the least accessible to female crew?<\/p>\n\n\n\n<p>In the films we have selected \u2013&nbsp;<em>Papusza<\/em>, M\u00e9sz\u00e1ros\u2019s&nbsp;<em>Diary<\/em>&nbsp;films,&nbsp;<em>Aurora Borealis, Morome\u021bii \u2013 The Edge of Time, Eternal Winter, \u201cI Don\u2019t Care if We Go Down in History as Barbarians\u201d<\/em>\u2013 history that shapes and determines the lives of individuals and nations in this part of Europe is captured through the prism of an individual immersed in it, who tries to negotiate herself and her place in community. The history experienced and recalled by women is marked with\/by the (un)consciousness of its situatedness, by the perception from a specific, individual perspective, through the prism of personal experiences. The trauma that is often the result of these experiences translates into the way history is presented. Individual memories are intertwined with visual patterns and templates elaborated on the level of culture \u2013 and enabled by the female situatedness of filmmakers and film protagonists alike.<\/p>\n\n\n\n<p>CHAIR:&nbsp;<strong>Diana Popa<\/strong>&nbsp;(Tallinn University)<\/p>\n\n\n\n<p>RESPONDENT:&nbsp;<strong>Anik\u00f3 Imre<\/strong>&nbsp;(University of Southern California)<\/p>\n\n\n\n<p>PARTICIPANTS:<\/p>\n\n\n\n<p><strong>El\u017cbieta Durys<\/strong>&nbsp;(University of Warsaw) \u201cReclaiming Minority Female Past in Polish Contemporary Historical Cinema: Papusza by Joanna Kos-Krauze and Krzysztof Krauze\u201d<br><strong>Diana Popa<\/strong>&nbsp;(Tallinn University) \u201cGhosts of the Past: Memory and Political Repression in M\u00e1rta M\u00e9sz\u00e1ros\u2019s Diary for my Children (1982)\u201d<br><strong>Andrea Virgin\u00e1s<\/strong>&nbsp;(Sapientia University Cluj-Napoca) \u201cRestorative memory work in a female mode? Eastern European historical films and female creative involvement\u201d<\/p>\n\n\n\n<p>This panel is sponsored by the ERC funded project \u201cTranslating Memories. The Eastern European Past in the Global Arena\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"\u00dchinege Diana Popa korraldatud paneeliga \u201cFemale Historical Cinema and the Workings of Memory in Central and Eastern Europe\u201d\u00a02022 Society for Cinema and Media Studies iga-aastasel konverentsil, Chicago, Illinois, 31. m\u00e4rts \u20143. aprill (online). Rohkem informatsiooni siit. Historical cinema is an important part of the Central and Eastern European filmic landscape (Dina Iordanova). It serves as [&hellip;]","protected":false},"author":4,"template":"","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":""},"class_list":["post-1041","events","type-events","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Diana Popa korraldatud paneel &quot;Female Historical Cinema and the Workings of Memory in Central and Eastern Europe&quot; 2022 SCMS konverentsil - Translating Memories<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/translatingmemories.tlu.ee\/et\/events\/diana-popa-korraldatud-paneel-female-historical-cinema-and-the-workings-of-memory-in-central-and-eastern-europe-2022-scms-konverentsil\/\" \/>\n<meta property=\"og:locale\" content=\"et_EE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Diana Popa korraldatud paneel &quot;Female Historical Cinema and the Workings of Memory in Central and Eastern Europe&quot; 2022 SCMS konverentsil - Translating Memories\" \/>\n<meta property=\"og:description\" content=\"\u00dchinege Diana Popa korraldatud paneeliga \u201cFemale Historical Cinema and the Workings of Memory in Central and Eastern Europe\u201d\u00a02022 Society for Cinema and Media Studies iga-aastasel konverentsil, Chicago, Illinois, 31. m\u00e4rts \u20143. aprill (online). Rohkem informatsiooni siit. Historical cinema is an important part of the Central and Eastern European filmic landscape (Dina Iordanova). It serves as [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/translatingmemories.tlu.ee\/et\/events\/diana-popa-korraldatud-paneel-female-historical-cinema-and-the-workings-of-memory-in-central-and-eastern-europe-2022-scms-konverentsil\/\" \/>\n<meta property=\"og:site_name\" content=\"Translating Memories\" \/>\n<meta property=\"article:modified_time\" content=\"2022-03-16T09:24:51+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"3 minutit\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/translatingmemories.tlu.ee\/et\/events\/diana-popa-korraldatud-paneel-female-historical-cinema-and-the-workings-of-memory-in-central-and-eastern-europe-2022-scms-konverentsil\/\",\"url\":\"https:\/\/translatingmemories.tlu.ee\/et\/events\/diana-popa-korraldatud-paneel-female-historical-cinema-and-the-workings-of-memory-in-central-and-eastern-europe-2022-scms-konverentsil\/\",\"name\":\"Diana Popa korraldatud paneel \\\"Female Historical Cinema and the Workings of Memory in Central and Eastern Europe\\\" 2022 SCMS konverentsil - Translating Memories\",\"isPartOf\":{\"@id\":\"https:\/\/translatingmemories.tlu.ee\/et\/#website\"},\"datePublished\":\"2022-03-16T09:24:50+00:00\",\"dateModified\":\"2022-03-16T09:24:51+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/translatingmemories.tlu.ee\/et\/events\/diana-popa-korraldatud-paneel-female-historical-cinema-and-the-workings-of-memory-in-central-and-eastern-europe-2022-scms-konverentsil\/#breadcrumb\"},\"inLanguage\":\"et\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/translatingmemories.tlu.ee\/et\/events\/diana-popa-korraldatud-paneel-female-historical-cinema-and-the-workings-of-memory-in-central-and-eastern-europe-2022-scms-konverentsil\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/translatingmemories.tlu.ee\/et\/events\/diana-popa-korraldatud-paneel-female-historical-cinema-and-the-workings-of-memory-in-central-and-eastern-europe-2022-scms-konverentsil\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/translatingmemories.tlu.ee\/et\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Diana Popa korraldatud paneel &#8220;Female Historical Cinema and the Workings of Memory in Central and Eastern Europe&#8221; 2022 SCMS konverentsil\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/translatingmemories.tlu.ee\/et\/#website\",\"url\":\"https:\/\/translatingmemories.tlu.ee\/et\/\",\"name\":\"TLU\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\/\/translatingmemories.tlu.ee\/et\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/translatingmemories.tlu.ee\/et\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"et\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/translatingmemories.tlu.ee\/et\/#organization\",\"name\":\"Translating Memories\",\"url\":\"https:\/\/translatingmemories.tlu.ee\/et\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"et\",\"@id\":\"https:\/\/translatingmemories.tlu.ee\/et\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/translatingmemories.tlu.ee\/wp-content\/uploads\/2020\/06\/LOGO.svg\",\"contentUrl\":\"https:\/\/translatingmemories.tlu.ee\/wp-content\/uploads\/2020\/06\/LOGO.svg\",\"width\":199,\"height\":68,\"caption\":\"Translating Memories\"},\"image\":{\"@id\":\"https:\/\/translatingmemories.tlu.ee\/et\/#\/schema\/logo\/image\/\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Diana Popa korraldatud paneel \"Female Historical Cinema and the Workings of Memory in Central and Eastern Europe\" 2022 SCMS konverentsil - Translating Memories","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/translatingmemories.tlu.ee\/et\/events\/diana-popa-korraldatud-paneel-female-historical-cinema-and-the-workings-of-memory-in-central-and-eastern-europe-2022-scms-konverentsil\/","og_locale":"et_EE","og_type":"article","og_title":"Diana Popa korraldatud paneel \"Female Historical Cinema and the Workings of Memory in Central and Eastern Europe\" 2022 SCMS konverentsil - Translating Memories","og_description":"\u00dchinege Diana Popa korraldatud paneeliga \u201cFemale Historical Cinema and the Workings of Memory in Central and Eastern Europe\u201d\u00a02022 Society for Cinema and Media Studies iga-aastasel konverentsil, Chicago, Illinois, 31. m\u00e4rts \u20143. aprill (online). 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Rohkem informatsiooni siit. Historical cinema is an important part of the Central and Eastern European filmic landscape (Dina Iordanova). It serves as&hellip;","featured_img":false,"coauthors":[],"author_meta":{"author_link":"https:\/\/translatingmemories.tlu.ee\/et\/author\/hanna-aunin\/","display_name":"Hanna Aunin"},"relative_dates":{"created":"Posted 4 aastat ago","modified":"Updated 4 aastat ago"},"absolute_dates":{"created":"Posted on 16\/03\/2022","modified":"Updated on 16\/03\/2022"},"absolute_dates_time":{"created":"Posted on 16\/03\/2022 12:24","modified":"Updated on 16\/03\/2022 12:24"},"featured_img_caption":"","tax_additional":[],"series_order":"","_links":{"self":[{"href":"https:\/\/translatingmemories.tlu.ee\/et\/wp-json\/wp\/v2\/events\/1041","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/translatingmemories.tlu.ee\/et\/wp-json\/wp\/v2\/events"}],"about":[{"href":"https:\/\/translatingmemories.tlu.ee\/et\/wp-json\/wp\/v2\/types\/events"}],"author":[{"embeddable":true,"href":"https:\/\/translatingmemories.tlu.ee\/et\/wp-json\/wp\/v2\/users\/4"}],"version-history":[{"count":2,"href":"https:\/\/translatingmemories.tlu.ee\/et\/wp-json\/wp\/v2\/events\/1041\/revisions"}],"predecessor-version":[{"id":1043,"href":"https:\/\/translatingmemories.tlu.ee\/et\/wp-json\/wp\/v2\/events\/1041\/revisions\/1043"}],"wp:attachment":[{"href":"https:\/\/translatingmemories.tlu.ee\/et\/wp-json\/wp\/v2\/media?parent=1041"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}