Introduction : Divided Memories, Shared Memories, Poland, Russia, Ukraine: History mirrored in Literature and Cinema
DOI :
https://doi.org/10.5077/journals/connexe.2019.e247Mots-clés :
IntroductionRésumé
In 2017, general-interest magazines illustrated the centenary of the Russian Revolution with stills from Eisenstein’s October [Октябрь] (1927). One strikingly showed soldiers rushing across a square to represent the storming of the Winter Palace by Bolshevik fighters on 7 November 1917. In reality, the actual assault was slow and even laborious. But for Western audiences, this film sequence has become an archive image, a piece of history. This type of substitution of artistic representation for historical reality conflicts with the positive construction of our knowledge of the past. Indeed, historians long refused to include literature and films in their historical research, as well as art in general, which has been mainly analysed from an aesthetic point of view.
Références
Amacher, Korine. 2004. L’oeuvre de Friedrich Gorenstein. Violence du regard, regards sur la violence. Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Oxford, Wien: Peter Lang, collection Slavica Helvetica.
Aunoble, Éric. 2016. La Révolution russe, une histoire française : Lectures et représentations depuis 1917. Paris: La Fabrique.
Corney, Frederick C. 2004. Telling October: Memory and the Making of the Bolshevik Revolution. Ithaca, NY: Cornell University Press.
De Baroncelli, Jacques. 9 October 1966. “Octobre.” Le Monde.
Sumpf, Alexandre. 2004. “Le public soviétique et Octobre d’Eisenstein: enquête sur une enquête.” 1895. Mille huit cent quatre-vingt-quinze 42: 5–34. Doi: https://doi.org/10.4000/1895.275.
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Certains droits réservés 2020 Korine Amacher, Eric Aunoble
Ce travail est disponible sous la licence Creative Commons Attribution 4.0 International .
