General Public

I Am Free…But Who Is Left? (Joanne W. Rudof, 2021, DCP, 92 mins)

Joanne W. Rudof in person! Reflective, first-person accounts of the Nazi invasion of a small Polish town are supplemented by family photos and historical documents in this recent documentary by a long-time archivist at Yale’s Fortunoff Archive. Presented by the Fortunoff Video Archive for Holocaust Testimonies and the Yale Film Archive. Co-sponsored by the Yale Program for the Study of Antisemitism.

Complexities of Resistance: Partisan Films from Eastern Europe and the Balkans Film Series presents a Double feature! on Thursday, October 26, 2023, 7:00 p.m.

THE BRIDE AND THE CURFEW (Nusja dhe shtetrrethimi)
Albania, 1978. 52 minutes.
Directed by Kristaq Mitro and Ibrahim Muçaj. Digital file. Albanian Film Archive, Tirane.

THE BRIDE AND THE CURFEW stands out from other Albanian films of the period through its focus on a single partisan woman, who finds a novel way of escaping from (and, of course, punishing) the occupying Germans. The film was scripted by noted writer Elena Kadare, author of the first novel by a woman published in Albanian.

CONSCIENCE (Sovist’)
Ukrainian SSR, 1968. 75 minutes.
Directed by Volodymyr Denysenko. Digital file. Dovzhenko Film Archive, Kyiv.

After two young partisans kill a Nazi officer in an occupied Ukrainian village, the invaders make an impossible demand: either turn over the perpetrators, or all the inhabitants of the village will be slaughtered. Director Denysenko presents this predicament using expressionist imagery, disjunctive editing and a well-nigh avant-garde soundtrack. Too radical for its time, CONSCIENCE attained its status as a Ukrainian film classic only during the Perestroika years.

These films will be shown with English subtitles as part of the series: Complexities of Resistance: Partisan Films from Eastern Europe and the Balkans.

Humanities Quadrangle, Screening Room L01
320 York Street, New Haven, CT 06511
Free and open to the public | All films will be shown with English subtitles

Sponsors:
Edward J. and Dorothy Clarke Kempf Memorial Fund; Russian, East European and Eurasian Studies Program; European Studies Council; Whitney Humanities Center; Yale Film Archive; Department of Slavic Languages and Literatures; and Film and Media Studies Program

About the Film Series: In the aftermath of World War II, several European states started reconstructing and reimagining their identities and recent histories by producing a vast number of films that celebrated and commemorated their guerrilla struggles against fascism. These films ranged in scope and ambition from intimate psychological dramas to overblown military spectacles, from elegiac recollections to pure pulp fiction. Similar to Hollywood westerns, partisan films were the defining genre of the socialist film industry for a significant period. Moreover, in the late 60s and early 70s, both genres reinvented themselves and underwent a political revision that ended their respective “classical periods.” Despite being hugely successful in their domestic markets and often cinematically accomplished, many examples of the partisan films never traveled abroad, and most film prints today remain locked up and in dire need of preservation in various national film archives. Aside from a handful of canonical works, the majority of films we will screen have never been shown in the U.S.

Complexities of Resistance: Partisan Films from Eastern Europe and the Balkans Film Series presents a film screening of MANHUNT (Hajka)
Yugoslavia (Serbia), 1977. 104 minutes.
Directed by Živojin Pavlović. DCP. Yugoslav Film Archive, Belgrade.
on Friday, November 10, 2023, 7:00 p.m.

Humanities Quadrangle, Screening Room L01
320 York Street, New Haven, CT 06511
Free and open to the public | All films will be shown with English subtitles

Regarded by many cognoscenti as Yugoslavia’s greatest film director, Pavlović—who was also a distinguished prose writer, memoirist, painter and film theorist— twice applied his gifts to the partisan theme. Based on a novel by Mihailo Lalić, MANHUNT depicts an only apparently brave and unified partisan collective mercilessly pursued by their various opponents through the hills of Montenegro. Presented by Professor Marijeta Bozović, Department of Slavic Languages and Literatures, Yale University.

Sponsors:
Edward J. and Dorothy Clarke Kempf Memorial Fund; Russian, East European and Eurasian Studies Program; European Studies Council; Whitney Humanities Center; Yale Film Archive; Department of Slavic Languages and Literatures; and Film and Media Studies Program

About the Film Series: In the aftermath of World War II, several European states started reconstructing and reimagining their identities and recent histories by producing a vast number of films that celebrated and commemorated their guerrilla struggles against fascism. These films ranged in scope and ambition from intimate psychological dramas to overblown military spectacles, from elegiac recollections to pure pulp fiction. Similar to Hollywood westerns, partisan films were the defining genre of the socialist film industry for a significant period. Moreover, in the late 60s and early 70s, both genres reinvented themselves and underwent a political revision that ended their respective “classical periods.” Despite being hugely successful in their domestic markets and often cinematically accomplished, many examples of the partisan films never traveled abroad, and most film prints today remain locked up and in dire need of preservation in various national film archives. Aside from a handful of canonical works, the majority of films we will screen have never been shown in the U.S.

Join a YCBA student guide for a tour of In a New Light: Paintings from the Yale Center for British Art.

While the Yale Center for British Art (YCBA) is closed for building conservation, more than fifty major collection works, spanning four centuries of British landscape and portraiture traditions, are on view at the Yale University Art Gallery. Join our student guides to learn more about the exhibition, as well as architecture, collection, and history of the YCBA.

The Conference is held online. Time references are in Central European Time.
Please register for online participation: https://nus-sg.zoom.us/webinar/register/WN_LsW0fzeYRcKRHx_SRi-FEg

DAY 1 – THURSDAY, 7 MARCH 2024
9:00 Welcome addresses (Mira Kozhanova and Maria Taroutina)
9:30 PANEL 1: MOVING EAST: THE ASIAN ARC OF MIGRATION Chair: Mira Kozhanova
David Low, Singapore
The Russian Connection in Singapore’s Local Art Identity
Olga Isaeva, University of Bonn, Germany
David Davidovich Burliuk and Futurism in Japan: Letting go of painting that is fixed to a single style
Katya Knyazeva, University of Eastern Piedmont, Vercelli, Italy
The émigré artist Victor Podgoursky and his legacy in Shanghai, Hong Kong and Kazan
11:30 PANEL 2: MOVING WEST: RETHINKING MIGRANT COMMUNITIES IN EASTERN EUROPE Chair: Christian Drobe
Jakub Hauser, Museum of Czech Literature, Prague, Czech Republic
Ukrainian Studio of Plastic Arts in Interwar Prague in the Context of the Exile Community from the Former Russian Empire
Daria Kostina, Almaty, Kazakhstan
Representatives of the Kalmyk Immigrant Community in Portraits of the Immigrant Artist Grigory Musatov in the Interwar Prague
Liudmila Sharaya, Arizona State University, USA
Between alienation and appropriation: Russian émigrés and space of Bulgaria and France during the interwar period
14:00 PANEL 3: NEGOTIATING BELONGING IN CHANGING ENVIRONMENTS Chair: Maria Taroutina
Marija Podzorova-Biret, Laboratory ICT, University Paris Cité, France
Navigating Ideological Crossroads: Georgy K. Loukomski in the mediation of the Soviet art and cultural policy in the West
Jeffrey Taylor, US Fulbright Scholar, European Humanities University Vilnius, Lithuania
From the lost Eva Striker to the survivor Eva Zeisel
Lina Bernstein, Franklin & Marshall College, USA
The Many Lives of Magda Nachman
Roann Barris, University of Illinois Urbana-Champaign, USA
Boris Aronson: An Artist on the Move
16:30 KEYNOTE ADDRESS: Object Travel (Maps of Misreading) by Jane Sharp, Rutgers University, USA
DAY 2 – FRIDAY, 8 MARCH 2024
9:30 PANEL 4: TRANSNATIONAL REALITIES OF GLOBAL ARTISTIC EXCHANGES Chair: Mira Kozhanova
Bronislava Prakhiy, Ekaterina Heath, Ksenia Radchenko, University of Sydney, Australia
Reclaiming Danila Vassilieff: Transnational Hybridity of a Cossack Émigré in Australian Modernism
Dilara Ulu, Istanbul Technical University, Türkiye
From Exile to Citizenship: The Influence of Vladimir Zender’s Network in Istanbul on his Photography
Julieta Pestarino, 4A_Lab / University of Buenos Aires, Argentina
Anatole Saderman. A photographer between Moscow and South America
11:30 PANEL 5: GENDER AND ARTISTIC MOBILITY
Chair: Louise Hardiman
Anja Wilhelmi, Northeast-Institute, University of Hamburg, Germany
The significance of gender and marital status in migration and exile for artists, using the example of Eva-Margarete Borchert (1878–1964)
Christa Spreizer, Queens College, The City University of New York, USA
The artist Rahel Szalit-Marcus and “Die Emigrantin als Bardame” (The Female Emigrant as Barmaid)
Pauline Walkiewicz, Europe-Eurasia Research Center (CREE), INALCO, Paris, France
Interactions and network of the Russian artists: the case of Mela Muter (1876–1967) and Zofia Piramowicz (1880–1958), two women artists from Warsaw during the Partition
Priscilla Manfren, University of Padua, Italy
A Young Russian Girl between Africa and Europe: Life and Works of Olga de Goguine
14:30 KEYNOTE ADDRESS: The (in)visible borders and crossroads of the Russophone artistic emigration (1880-1939) By Vita Susak, Swiss Academic Society for Eastern European Studies, Switzerland
16:30 ROUNDTABLE „UNITY IN DIVERSITY? THE ENTANGLED HISTORIES OF MIGRANT ARTISTS FROM THE RUSSIAN EMPIRE/SOVIET UNION“ Chair: Maria Taroutina
Speakers:
Marina Dmitrieva, Independent art historian, Germany
Krista Kodres, Estonian Academy of Arts, Estonia
Maria Silina, Université du Québec à Montréal, Canada