Events

Upcoming Events

Translating Memories Online Speaker Series

19 October 2021

featuring Kinga Polynczuk-Alenius, Maria Kobielska, Mischa Gabowitsch, Mitja Velikonja Read more ...

19 October 2021 16.00 (EEST)
Kinga Polynczuk-Alenius, Helsinki Collegium for Advanced Studies
Palimpsestic Memoryscape: Heterotopias, “Multiculturalism”, and Racism in the Polish Cityscape

9 November 2021 16.00 (EET)
Maria Kobielska, Jagiellonian University in Cracow, Poland
Poland Exhibited: Polish Museum Boom and the Problem of International Recognition

30 November 2021 16.00 (EET)
Mischa Gabowitsch, Einstein Forum in Potsdam, Germany
Replicating Atonement: Foreign Models in the Commemoration of Atrocities

22 February 2022 16.00 (EET)
Mitja Velikonja, University of Ljubljana, Slovenia
Poetry after Srebrenica? – A Cultural Reflection on the Yugoslav 1980s

Kinga Polynczuk-Alenius
Palimpsestic Memoryscape: Heterotopias, “Multiculturalism”, and Racism in the Polish Cityscape

In this talk, I will present an article that has recently been accepted for publication in the History & Memory journal. The article examines the palimpsestic memoryscape of Białystok, the largest city in northeast Poland, to illuminate the ongoing struggle in contemporary Poland between two memory regimes: the declarative “multiculturalism” and the submerged racism. It employs the concept of “heterotopia” as a theoretical device and walking as a method to study the Jewish Heritage Trail (JHT) as an attempt to recover the memory of bygone multiethnicity and, in doing so, to mint a new “multicultural” brand for the city. By analyzing the post-Jewish spaces located on the JHT—all of which have been appropriated, erased, and/or marginalized—the article shows that this new “multicultural” memory regime is shot through with racism, because it reproduces the inequalities and segregation that structured inter-ethnic relationships in the past.
Kinga Polynczuk-Alenius is Postdoctoral Researcher (Core Fellow) in media and communication at the Helsinki Collegium for Advanced Studies, University of Helsinki. Having previously done research on ethical trade communication, she is currently working on a project concerning mediated racism and nationalism in Poland. Her articles have been published in journals across disciplines such as Nations and Nationalism, Globalizations, International Journal of Cultural Studies, Journal of Nonprofit & Public Sector Marketing, and Media and Communication.

Maria Kobielska
Poland Exhibited: Polish Museum Boom and the Problem of International Recognition

In the talk, I explore the potential of the Polish past being exhibited in the global context, drawing on my research on the Polish museum boom in the 21st century. In recent years, historical museums have gained particular attention in Poland; multiple newly founded or rearranged institutions, offering spectacular exhibitions, powerfully influence visions of the past. “New museums” occupy prominent position within contemporary Polish memory culture and thus can serve as touchstones of its dynamics. As visual, performative and emotional memory media, museum exhibitions promise to transcend the boundaries of a single national perspective and language in order to make regional past intelligible in the global context. Museum creators frequently express their aspirations to do so. For instance, Paweł Machcewicz, the first director of the Museum of the Second World War in Gdańsk, elaborates on the figure of a “tourist from Portugal” as an imaginary visitor of the exhibition, used in the course of his team’s work to communicate regional and Polish memory of the war in an internationally comprehensible way (Machcewicz 2017). Leading museums of the 21st century often aim at both domestic and international audiences and consequently struggle to simultaneously perform divergent, if not conflicting, tasks. This has so often been a bone of contention: how should museums prioritise? On the one hand, there is a risk of self-colonisation, when local memory is reduced to an internationally recognisable form. On the other, when celebrating local memory is valued over contextualising and communicating, it is probable that ressentiment rather than empowerment will follow. In the course of the talk I will analyse diverse museum strategies designed to neutralise both risks, taking into account prevalent historical policies and codes of memory culture. I will focus on Polish museums that are most popular among the international audience, like the Warsaw Rising Museum and the Museum of the Second World War, but also explore lesser-known cases that can inspire “curatorial dreaming” (Butler&Lehrer 2016) about new forms of citizenship and community.
Maria Kobielska, PhD, is a memory scholar, Assistant Professor at the Faculty of Polish Studies of the Jagiellonian University in Cracow, member of the Research Center for Memory Cultures (JU), of the Memory Studies Association, and of the Polish Association of Cultural Studies. She has written on contemporary Polish literature and culture in the context of memory and politics. Her most recent book discusses Polish memory culture in the 21st century (Polska kultura pamięci: dominanty. Zbrodnia katyńska, powstanie warszawskie i stan wojenny, 2016) and she is currently working on a research project that focuses specifically on new Polish historical museums.

Mischa Gabowitsch
Replicating Atonement: Foreign Models in the Commemoration of Atrocities
The rise of expressions of regret and atonement for past atrocities has been described as the triumph of an international norm, and recent years have seen increased scholarly interest in the different actors and processes—sub-, trans-, or supra-national—that contribute to the diffusion of that norm. Yet in most cases, the idea is articulated not simply as the application of a universal norm to a particular national or local context, but by analogy. Other countries are held up as examples, as models to emulate or as unreachable gold standards of atonement. Germany in particular is often referred to as a master atoner, a country with an exemplary track record of “coming to terms with its past” that holds valuable lessons for other nations.
Based on a major volume I edited, in this talk I will explore the effects and implications of atoning by analogy. I distinguish between four different ideal-typical uses of foreign models in debates about atonement: as a springboard, a yardstick, a foil, or a screen, and illustrate them with examples from around the world before focusing more specifically on the role that references to the “German model” have played in a Soviet and post-Soviet Russian context.
Mischa Gabowitsch is a historian and sociologist based at the Einstein Forum in Potsdam, Germany. He holds a BA and MA from Oxford and a PhD from the School of Advanced Social Studies (EHESS) in Paris, and is an alumnus fellow of the Princeton University Society of Fellows and past editor-in-chief of the Russian journals NZ and Laboratorium: Russian Review of Social Research. His book publications in English are Protest in Putin’s Russia and Replicating Atonement: Foreign Models in the Commemoration of Atrocities. He has also edited several books in Russian and German on war memory and commemoration in Russia and beyond. At present he is working on a history of Soviet war memorials as well as a book on Victory Day celebrations since 1945, and also has various projects related to pragmatic sociology and specifically the sociology of regimes of engagement.

Mitja Velikonja
Poetry after Srebrenica? – A Cultural Reflection on the Yugoslav 1980s

How are we to understand the Yugoslav 1980s today, how are we to write about them, paint them, record or put them into poetry, music or the stage, to sing about them; how are we to value them after the bloody tale of the 1990s? Can we still write poetry on the last Yugoslav decade after what happened in Srebrenica, Vukovar, Ahmići, Sarajevo, and the hundreds other killing fields, or is this too barbaric as well? My presentation
analyses the various types of cultural and artistic reflection – i.e. the construction and the perception – upon the 1980s in socialist Yugoslavia as they have developed from its ashes since 1991. As a cultural scientist of post-Yugoslavia – and not as a historian of Yugoslavia – I will not speak about the historical 1980s but about their contemporary cultural representations; about the artistic construction and deconstruction of that decade; about the way images of the recent past are formed in today’s art and culture. My ambition is not doing historiographical trips from the post-Yugoslav present to the Yugoslav 1980s, but posing culturological questions about how the Yugoslav 1980s are present on the today’s artistic and wider cultural map.
Mitja Velikonja is a Professor for Cultural Studies and head of Center for Cultural and Religious Studies at University of Ljubljana, Slovenia. Main areas of his research include contemporary Central-European and Balkan political ideologies, subcultures and graffiti culture, collective memory and post-socialist nostalgia. His last monographs are The Chosen Few – Aesthetics and Ideology in Football-Fan Graffiti and Street Art (Doppelhouse Press, 2021), Post-Socialist Political Graffiti in the Balkans and Central Europe (Routledge, 2020, awarded as one of the best achievements of University of Ljubljana in the year 2020, already translated into Serbian and in translation in Slovenian, Macedonian and Albanian), Rock’n’Retro – New Yugoslavism in Contemporary Slovenian Music (Sophia, 2013), Titostalgia – A Study of Nostalgia for Josip Broz (Peace Institute, Ljubljana, 2008), Eurosis – A Critique of the New Eurocentrism (Peace Institute, Ljubljana, 2005) and Religious Separation and Political Intolerance in Bosnia-Herzegovina (TAMU Press, 2003). He is co-author of the book Celestial Yugoslavia: Interaction of Political Mythologies and Popular Culture (2012), and co-editor and co-author of books Post-Yugoslavia – New Cultural and Political Perspectives (2014) and Yugoslavia From A Historical Perspective (2017). For his achievements he received four national and one international award (Erasmus EuroMedia Award by European Society for Education and Communication, 2008). He was a full-time visiting professor at Jagiellonian University in Krakow (2002 and 2003), at Columbia University in New York (2009 and 2014), at University of Rijeka (2015), at New York Institute in St. Petersburg (2015 and 2016), at Yale University (2020), Fulbright visiting researcher in Philadelphia (2004/2005), and visiting researcher at The Netherlands Institute of Advanced Studies (2012) and at the Remarque Institute of the New York University (2018).

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Panel Mediating the Memory of the Communist Past in Contemporary East Central European Cinemas at ASEEES 2021

3 December 2021

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Join us for the panel organised by Diana Popa Read more ...

3 Dec 10.00-11:45 CST, Virtual Convention, VR 5

In the context of the global resurgence of authoritarian, right wing tendencies, this panel proposes to map changes in the memory discourses about the East Central European past by analysing the aesthetic and narrative strategies that historical films from Poland, Hungary, Slovakia and Romania employ in order to respond to the changing needs of the present. The panel seeks to explore the memory of the communist past that these films reconstruct in relation to (a) official discourses about the past; (b) their popularity and/or recognition at global, regional and national levels; c) oppositional discourses of victims and perpetrators. The aim is to offer a nuanced understanding of how these films work within local/ global memory discourses and how these, in turn, affect their reception at local and/ or global level.
Chair: Diana Popa, Tallinn University
Discussant: Katarína Misikova, Academy of Performing Arts in Bratislava
Speakers:
Elzbieta Durys, University of Warsaw
‘Reclaiming Past’ and ‘Filling in the Blank Spots’: Prevailing Elements in Contemporary Polish Historical Cinema
Janka Dudková, Institute of Theatre and Film Research, CRA, SAS
From the Rhetorics of ‘Glasnost’ to Contemporary ‘Anticommunism’ in Slovak Film
Andrea Virginás, Sapientia Hungarian University of Transylvania
21st Century Historical Films and Small National Collective Memory: Examples from Hungary and Romania
Diana Popa, Tallinn University
Memory and the Communist Past in Romanian Historical Films: From Revolutionary Uncertainty to Hopeless Didacticism

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CFP: Mnemonic Migration: Transcultural Transmission, Translation and Circulation of Memory Across and Into Contemporary Europe

28-29 April 2022

A conference at the University of Copenhagen co-organised by the project Read more ...

University of Copenhagen, Denmark

This conference aims to explore how memories travel through the aesthetic medium of literature and are translated into new local communities of remembering. The conference concentrates on the travel of memories (Erll 2011) within or into the cultural, geographical and symbolic boundaries of Europe, perhaps fostering new knowledge and attention to events that are otherwise marginalized in a Westernized perspective on the European past and identity.

According to Ann Rigney and Astrid Erll (2009), fictional literature is a significant medium of cultural memory that has the ability of “sparking public debates on historical topics that had hitherto been marginalized or forgotten.” This conference looks at transcultural memory formations that are generated: 1) by the mobility of people across or into Europe and 2) by the production of “transcultural memorial forms” (Laanes 2021) that translate experiences to other geographic arenas.

According to Erll (2011), migrants can be seen as carriers of memory, understood as “individuals who share in collective images and narratives of the past.” By expressing their mnemonic displacement – that is, their disorientation in the mnemonic framework of their host country together with their contrasting memories – migrant literature contributes to setting the agenda for future collective remembrance. This conference shall explore how this activity, which we would like to think of as mnemonic migration, speaks to the (re)construction of shared memories in Europe and/or its countries and regions. Furthermore, we are interested in questioning which “transcultural memorial forms” may be used to “culturally translate experiences in order to make them known and intelligible to others,” thus making memories travel (Laanes 2021).
Crucially, the successful travel of memories depends on reception by members of a mnemonic community. Therefore, this conference is also concerned with the reception and recirculation of transcultural memories, asking if novels, due to the “transformative power of the arts and their capacity to mobilize individuals through imagination and affect” (Rigney 2014), may forge what Alison Landsberg (2004) has called prosthetic memory: that is, a deep-felt and empathetic connection to events one has not lived through. We are keen to explore how mediations of memory circulate, how they are received, and if and how they may develop into what we could think of as prosthetic memories in various European contexts, perhaps contributing to new memory canons within Europe.
We welcome papers that consider, but are not limited to, any of the following issues:
• Memory literature by authors who have migrated to or within Europe
• Reception and prosthetic memory
• World literature of memory in a European perspective
• Travelling memory
• Methodological considerations of studying transcultural memory in literature
• Methodological considerations of studying circulation, reception and prosthetic memory

Please send an abstract of 300 words and a short bio of 150 words to Jessica Ortner (ortner@hum.ku.dk) no later than 26 September 2021.


Organiser: Mnemonic Migration: Transnational Circulation and Reception of Wartime Memories in post-Yugoslav Migrant Literature (Independent Research Fund Denmark, 2019–2022, Jessica Ortner, Tea Sindbæk Andersen)
Co-organiser: Translating Memories: The Eastern European Past in the Global Arena (ERC, 2020–2024, project leader Eneken Laanes)

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Previous Events

Laanes in MSA 2021 Warsaw Sub-plenary How Memory Mediates the Past in History and in Literature

9 July 2021

Laanes to discuss responsibility, redemption and the late Soviet subject in Julian Barnes’s novel The Noise of Time Read more ...

Sub-plenary Session 1: How Memory Mediates the Past in History and in Literature
14-16 (GMT+2)
Chair: Tea Sindbaek Andersen, University of Copenhagen
Discussants:
Astrid Erll, Goethe University Frankfurt
Hans Ruin, Department of Culture and Learning, Södertörn University
Speakers:
Julie Hansen, Uppsala University
Fiction as a Grey Zone between History and Memory
Patrick Hutton, University of Vermont
The Celebrity of Walter Benjamin
Siobhan Kattago, University of Tartu
Odysseus and the Bard: Bridging the Gap between Experience and Narrative
Eneken Laanes, Tallinn University
Julian Barnes’s Dmitri Shostakovich: Responsibility and Redemption

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Panel Victims, Perpetrators, Implicated Subjects in Central and Eastern Europe at MSA 2021 Warsaw

8 July 2021

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Join us for the panel organised by our project Read more ...

H18: Victims, Perpetrators and Implicated Subjects in Central and Eastern Europe
8 July 11-13 (GMT+2)

Many scholars in memory studies have drawn attention to the inadequacy of the victim-perpetrator dichotomy for understanding political violence in various historical situation and even more so in remembering the violence by subsequent generations. Eastern Europe is a case in point here. Soviet repressions in Russia often turned perpetrators of the first wave of repressions into the victims of the next (Etkind 2013). During WWII in East Central Europe, Ukraine and the Baltic states the victims of one occupying regime sometimes became the perpetrators of the next. During the socialist regime in Eastern Europe most of people did not occupy neither of these two positions, but still suffered and/or were complicit with autoritarian regimes. How to describe the convergence of these subject positions in relations to violence?
And what are the forms of implication (Rothberg 2019) of contemporary generations of Eastern Europeans in this past? More often than not we see the national states in the region externalise violence and identify with victims of past violence without bringing up the question of responsibility for collaboration and complicity. How to describe the implicated subjects in Eastern Europe and what are the ways in which they are implicated in the past of the region?
The panel seeks answers to these questions by exploring commemorative practices and aesthetic media of memory that enable to forge subject positions that are resisted and made difficult to imagine or to adopt by the politics of memory in different contexts in Eastern Europe.
Chair:
Eneken Laanes, Tallinn University
Discussant:
Ljiljana Radonić, Austrian Academy of Sciences, Institute of Culture Studies and Theatre History
Speakers:
Margaret Comer, Tallinn University
Portraying Perpetration, Victimhood, and Implication at Sites of Soviet Repression in Moscow
Daria Mattingly, University of Cambridge
Implicated Subjects of the Holodomor
Diana Popa, Tallinn University
Spectacular Provocations: Implicated Spectators in Contemporary Hungarian and Romanian Historical Films

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Margaret Comer presents at the Fifth Annual Tartu Conference on Russian and East European Studies

8 June 2021

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Memorials, Museums, and Memorial Museums: Remembering Mass Repression in Contemporary Moscow

Workshop Victims, Perpetrators, Implicated Subjects in Central and Eastern Europe

3-4 June 2021

Project workshop with a public keynote lecture by Ljiljana Radonić Read more ...

Thursday, 3 June (open to public)

16.00 – Online keynote address

“Perpetrators and Collaborators in Post-Socialist Memorial Museums in the Era of Victimhood” (Ljiljana Radonić, Institute of Culture Studies and Theatre History of the Austrian Academy of Sciences in Vienna)

Please register here

17.30 – Virtual cocktail hour

 

Friday, 4 June (open only to the presenting participants)

10.00 – Introduction (Eneken Laanes, Tallinn University)

10.30 – Session 1: Available Subject Positions in Museums and Memorials

“Diversification and Alternative Subject Positions: On Museological Representation of Communism in Estonia” (Ene Kõresaar and Kirsti Jõesalu, University of Tartu)

“Portraying Perpetration, Victimhood, and Implication at Sites of Soviet Repression in Moscow” (Margaret Comer, Tallinn University)

11:30 – Coffee Break

11:45 – Session 2: Rethinking the Implicated Subject

“Man-Made Famine Without Perpetrators? To the Question of the Rank-and-File Perpetrators in the Holodomor Studies” (Daria Mattingly, University of Cambridge)

“Perpetrator and/or Victim – Family History and the Totalitarian Condition in Stepanova and Lebedev” (Anja Tippner, University of Hamburg)

12.45 – Lunch

14.00 – Session 3: The Implicated Subject in Film

“Spectacular Provocation: Implicated Spectators in I Do Not Care if We go Down in History as Barbarians”(Diana Popa, Tallinn University)

“The Ethics and Aesthetics of Holocaust Perpetrator Memory in two Lithuanian Films: Purple Mist (2019) and Izaokas (2019)” (Violeta Davoliute, Vilnius University)

15:00 – Coffee Break

15:15 – Session 4: General Discussion and Workshopping 

16:00 – End of the Workshop

Many scholars in memory studies have drawn attention to the inadequacy of the victim-perpetrator dichotomy for understanding political violence in various historical situation and even more so in remembering the violence by subsequent generations. Eastern Europe is a case in point here. Soviet repressions in Russia often turned perpetrators of the first wave of repressions into the victims of the next (Etkind 2013). During WWII in East Central Europe, Ukraine and the Baltic states the victims of one occupying regime sometimes became the perpetrators of the next. During the socialist regime in Eastern Europe most of people did not occupy neither of these two positions, but still suffered and/or were complicit with autoritarian regimes. How to describe the convergence of these subject positions in relations to violence?
And what are the forms of implication (Rothberg 2019) of contemporary generations of Eastern Europeans in this past? More often than not we see the national states in the region externalise violence and identify with victims of past violence without bringing up the question of responsibility for collaboration and complicity. How to describe the implicated subjects in Eastern Europe and what are the ways in which they are implicated in the past of the region?
The workshop seeks answers to these questions by exploring commemorative practices and aesthetic media of memory that enable to forge subject positions that are resisted and made difficult to imagine or to adopt by the politics of memory in different contexts in Eastern Europe.

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Performing the Documentary in Eastern Europe

21 May 2021

Workshop at Lund University co-organised by the project Read more ...

9.00 Welcome (Johanna Lindbladh, Lund University and Anja Tippner, University of Hamburg
9.15 Keynote
Reflections on the Institutions and Sociology of Contemporary Russian Documentary Film (Jeremy Hicks, University of London, Queen Mary)
10.00 Break
10.10 Parallel breakout sessions: Discussions of 4-5 chapter proposals in 3 groups
12.15 Lunch
12.45 Keynote
The Documentary in Concentrationary Art (Elizabeth Saxton, University of London, Queen Mary)
13.30 Concluding Remarks

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Johanna Ross presents at the Under and Tuglas Literature Centre of the Estonian Academy of Sciences webinar “Kirjanike ilmavaatest. Seminar ilmast kirjanduses”

21 May 2021

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Braving the Weather in Soviet Literature. Lilli Promet and Others.

Diana Popa presents at the Centre for the Study of Cultural Memory (The Institute of Modern Languages Research) Seminar Series Mediated Memories of Responsibility

19 May 2021

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Spectacular provocations: Spectatorship and Responsibility in Radu Jude’s Historical FilmsRead more ...

In her paper “Spectacular provocations: Spectatorship and Responsibility in Radu Jude’s Historical Films”, Diana explores Radu Jude’s Aferim! (2015) and “Îmi este indiferent dacă intrăm în istorie ca barbari” / “I Do Not Care if We go Down in History as Barbarians” (2018), two recent films that articulate histories of violence, such as the issue of Roma slavery and the genocide of Eastern European Jewry during the Second World War, from within a specific socio-historical and cultural context. Both films are representative for the filmmaker’s continued interest in confronting Romanian audience with shameful aspects of their past. Diana will analyse how the two films use generic formats (the Western) and techniques (direct address and re-enactment) not only to entertain but also to invite spectatorial reflection on the effects on the present of a past left unaddressed by years of communist and post-communist mythmaking. She argues that analysing cinematic and narrative spectacle in relation to the spectatorial positions developed by the two films may help uncover new understandings (both notions of solidarity and also responsibility) in relation to forgotten histories and painful memories of authoritarian pasts.

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Translating Memories Speaker Series: Andrea Virginás

13 April 2021

21st Century Historical Films and Small Nations' Collective Memory: Examples from Hungary and Romania Read more ...

21st Century Historical Films and Small Nations’ Collective Memory: Examples from Hungary and Romania
Andrea Virginás (Sapientia Hungarian University of Transylvania, Cluj-Napoca, Romania)


Tuesday, 13 April 2021 17.00 (EEST)
Tallinn University
Please join us here


In the talk I will present the first results of an individual research that aims to describe, analyze and theorize the role of 21st century historical films in an Eastern European/Hungarian, Polish and Romanian context, films that have often been met with resounding success within their domestic markets. The interpretative framework derives from cultural trauma theory and memory studies combined with the analysis of fictional feature films, and Thomas Elsaesser’s argument according to which European cinema may be conceived of “as a dispositif that constitutes, through an appeal to memory and identification, a special form of address, at once highly individual and capable of fostering a sense of belonging” (Elsaesser 2005, 21). A short introduction will sketch the phenomenon within the context of the only major national cinema in the former Eastern Bloc, the Polish one, with reference to the 2007 Katyn or the 2015 Ida, suggesting that the robustness of the industry and the size of the domestic market have been important factors in succeeding to activate “3rd generation” memory work (Assmann 2012) referring chiefly to the Second World War. Then, based on the model of Aleida Assmann who connects three generations to communicative memory – the victims who lived through collective traumas, the next generation of those who forgot, and the third generation who “meant to give a voice to historical memory” (Assmann 2012, 13) – I will continue with the analysis of two small national cinemas and their pertinent examples from the 21st century, trying to understand those features that lead to the popularity of such titles as Son of Saul (L. Nemes, 2015), Aferim! (R. Jude, 2015), Bet On Revenge (G. Herendi, 2017), Morometii 2 (S. Gulea, 2018), and Eternal Winter (A Szasz, 2018). I will examine the distribution routes and awards of the films, as possibly intertwined with the high domestic audience numbers, and will pay attention to the films’ Facebook pages and the fan-based conversations developed on social media – also influenced by film critical pieces. In the stylistic and narrative analysis of the films I rely on well known concepts that connect fictional historical films and communicative memory-work: Janet Walker’s “trauma cinema,” Alison Landsberg’s prosthetic memory, Susannah Radstone’s “cinema/memory,” Marianne Hirsch’s postmemory (2008), or Astrid Erll and Stephanie Wodianka’s “Erinnerungsfilm/memory film”. However, as suggested by the high audience numbers, the cryptic, innovative and creative ways of conveying collective traumatization through audiovisual storytelling have been complemented with further elements beloved by Hungarian and Romanian domestic audiences. In my conclusion I will suggest that the addition of humor, the mixing of genres and a prescience of the television aesthetics popularized by 2020s streaming platforms have been also influential in the domestic success of the mentioned films. I will end by reflecting on the issue of whether these and more recent titles – I Don’t Care if We Go Down in History as Barbarians (R. Jude, 2018), Tall Tales (A. Szasz, 2019), Those Who Remained (B. Toth, 2019), Queen Marie of Romania (Alexis Cahill, 2019) or Malmkrog (C. Puiu, 2020) – may be considered as creating small national collectives of remembrance around the third generation “meant to give a voice to historical memory” (Assmann 2012, 13).
Andrea Virginás – MA in Gender Studies, PhD in Literary and Cultural Studies – is Associate Professor of Film and Media Studies at Sapientia The Hungarian University of Transylvania, Cluj, Romania. Her research interests include film genres, European cinema, cultural theory, intermediality, narratology. She is the author of Post/Modern Crime: From Agatha Christie to Palahniuk, from Film Noir to Memento (VDM Verlag, 2011), the editor of The Use of Cultural Studies Approaches in the Study of Eastern European Cinema: Spaces, Bodies, Memories (Cambridge Scholars Publishing, 2016), and has published in Studies in Eastern European Cinema, European Journal of English Studies, European Journal of Women’s Studies, Journal of European Studies, Communicazioni Sociali and in the volumes Popular Cinemas in East Central Europe: Film Cultures and Histories (I. B. Tauris, 2017), New Romanian Cinema (Edinburgh University Press, 2019), European Cinema in the Twenty-First Century: Discourses, Directions, and Genres (Palgrave Macmillan, 2020) and Beyond Media Borders: Intermedial Relations among Multimodal Media (Palgrave Macmillan, 2020).

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Diana Popa gives a paper at the 2021 Society for Cinema and Media Studies Annual Conference

19 March 2021

Hopeless Didacticism: Spectatorial Mode of Address in I Do Not Care If We Go Down in History as Barbarians

Eneken Laanes is the panelist at the online webinar Polarized Pasts at Stockholm University

13 January 2021

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This webinar aims to lay the foundation for a new research program exploring the complex intersections of heritage and polarization. Eneken is part of the international advisory board of the planned program. Read more ...

This webinar aims to lay the foundation for a new research program exploring the complex intersections of heritage and polarization. Eneken is part of the international advisory board of the planned program.

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Margaret Comer gives a virtual paper in the Society for Historical Archaeology’s 2021 Conference on Historical and Underwater Archaeology.

8 January 2021

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The session, ‘Pandemic Fieldwork: Doing Fieldwork during a Pandemic’, ‘discusses both novel and reworked methodological approaches for conducting, or attempting to conduct, archeological fieldwork during a global pandemic’. Margaret‘s paper, ‘Shifting Remembrance: On-Site and Digital Memorialization of Soviet Mass Repression in the Wake of COVID-19’, focuses on how the pandemic has changed encounters with and […] Read more ...

The session, ‘Pandemic Fieldwork: Doing Fieldwork during a Pandemic’, ‘discusses both novel and reworked methodological approaches for conducting, or attempting to conduct, archeological fieldwork during a global pandemic’. Margaret‘s paper, ‘Shifting Remembrance: On-Site and Digital Memorialization of Soviet Mass Repression in the Wake of COVID-19’, focuses on how the pandemic has changed encounters with and at a network of Moscow ‘dark heritage’ sites of Soviet repression, focusing on the places of violence themselves as well as the perception and dissemination of memories these sites are meant to preserve. Digital platforms and networks have already been used to disseminate historical, memorial, and political information that risk official censure in other media; thus, this paper also examines how the pandemic has changed stakeholder, activist, and government attitudes towards digital memorialization of Soviet repression and what these changes mean for the heritagization of mass repression.

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Nordic Memory Studies Conference, Lund University with keynote by Eneken Laanes

29-30 October 2020

Conference Performing the Documentary in Post-Communist Art and Culture co-organised by Translating Memories, Lund University

16-18 October 2020

Postponed to 21-23 May 2021 Read more ...

Postponed to 21-23 May 2021

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Margaret Comer gives a paper in the first Annual Post-Socialist and Comparative Memory Studies (PoSoCoMeS, Memory Studies Association Working Group) Conference

21 September - 1 October 2020

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Margaret’s presentation, entitled ‘Heritagescapes of Repression: legacies of mass violence in contemporary Russia’, examines the conceptual heritagescapes of four sites related to Soviet repression in Moscow, Russia. She is looking at how victims and perpetrators are portrayed (or not portrayed) at these sites and introducing her theoretical models of ‘grievability’ (inspired by Judith Butler’s theory […] Read more ...

Margaret’s presentation, entitled ‘Heritagescapes of Repression: legacies of mass violence in contemporary Russia’, examines the conceptual heritagescapes of four sites related to Soviet repression in Moscow, Russia. She is looking at how victims and perpetrators are portrayed (or not portrayed) at these sites and introducing her theoretical models of ‘grievability’ (inspired by Judith Butler’s theory of the same name) and ‘blameability’. Differing degrees of grievability and blameability at a given site can be plotted against each other on a chart to discern different sites’ manifestations of grief and blame, potentially allowing us to discern patterns in different types’ of sites presentations and their underlying motivations.

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Eneken Laanes presents at The Other Europe: Changes and Challenges since 1989, Yale University

11-12 September 2020

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Seminar with Prof Violeta Davoliūtė Multidirectional Memory: Lithuanian Jews and the Soviet Deportations of June 1941

20 February 2020

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Eneken Laanes gives a paper at Jaan Kross’s anniversary conference The Ropewalker: Jaan Kross 100

19 February 2020

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