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Medium 9780253011046

14 Russian Rock on Soviet Bones

Edited by Lilya Kaganovsky and Masha Sal Indiana University Press ePub

Lilya Kaganovsky

VALERY TODOROVSKYS 2008 film Stilyagi (The Hipsters) opens with a scene at a local Soviet clinic. A patient has come for a chest X-ray, complaining of a severe cough. We hear the nurse scolding him for excessive smoking, we see the X-rays produced and examined, but it is only when we see the same X-ray plate being cut into the shape of a circle, and a hole being burned in the exact middle with a cigarette, that we understand the relationship of this opening sequence to the rest of film: the X-ray can be used to make a homemade gramophone record, a phenomenon that was referred to in the 1950s and 1960s as “rock on bones” (rok na kostiakh): Western rock recorded onto “Soviet” bones.

Set in 1955 and 1956, just after the death of Stalin but before the Twentieth Party Congress and Khrushchev’s “Secret Speech,” Stilyagi is a musical (or a musical comedy, or a musical tragicomedy) about a brief, but very vibrant, Soviet counterculture moment when a generation of postwar Soviet youth, exposed for the first time to movies, music, and styles from the West, attempted to reproduce through their clothes, music, dance, and overall attitude a certain kind of international style. The basic plot centers on the romance of Mels and Pol’za, beginning with his conversion from a straight-laced Komsomol member to full-fledged stilyaga, his expulsion from the Komsomol, her pregnancy, and the group’s eventual dispersal. Despite Todorovsky’s disclaimers, the film is a true musical in the Hollywood sense of the genre, where the emotional and narrative weight is given to the song and dance numbers, loosely connected by a minimal plot.

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Medium 9780253016959

Appendix: Festivals and Prizes for French Personnel and Productions

Colin Crisp Indiana University Press ePub


National Recognition

Cannes Film Festival

Grand Prix du Cinéma Français

Instituted in 1934, but the conditions, name, and date changed several times. In 1937, the government took it over and it became the Grand Prix National du Cinéma Français. It was not awarded during the war, but in 1942–1943, a substitute was created called by some the Grand Prix du Film d’Art Français, awarded by a jury consisting of three state representatives and three critics elected by their colleagues (Lucien Rebatet, Alexandre Arnoux, and Roger Régent). It recognized the following (the first two years retrospectively):

In 1944, the Société des Auteurs awarded an equivalent, which they called the Grand Prix du Cinéma. to Goupi Mains-Rouges with an honorable mention to Douce.

After the war, it was reinstituted as the Grand Prix du Cinéma Français.

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Medium 9780253352521

8 Anecdotes and the Local Character

Ray Cashman Indiana University Press ePub

To say, as has often been said, that “John McHugh was a great character” reveals something about what a character is in local rather than literary terms. If one man is considered a character then others are not. In emic terms, “characters” are not the narrative representations of all dramatis personae appearing in folklore; they are types of individuals distinguished most often by uncommon wit, effusiveness, gullibility, volatility, backwardness, or some other marked trait of excellence or eccentricity. True, the deceased at a wake is treated as if a character, in the local sense, through anecdotes seeking to identify the essence of the deceased. Therefore, eventually all are afforded the opportunity of being celebrated for individuality while also being characterized in terms of traits and types. However, those like John McHugh who are consistently referred to as “characters” are treated and portrayed as such usually during life, definitely at their wakes, and indefinitely after death at ceilis and the wakes of others. Simply put, in local terms, characters are those people who offer the most entertaining material for anecdotes and are therefore most often discussed. Having earned a reputation, they attract attention from storytellers who are eager for more material and who are not above using traveling motifs or apocryphal elements when adding to the social biographies of local characters.

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Medium 9780253007445

5. Agency and the Mosquito: Mitchell and Chakrabarty

Kenneth W. Harrow Indiana University Press ePub

Mosquitoes don’t decide, they just [do] act.

Women as trash

Garbage, detritus, debris, residuum, waste, rubbish. Déchets humains, homeless bums, worthless scum, street people, street children, child soldiers,

handicapped, crippled, maimed, wounded

foreigners, immigrants, immigration clandéstine,

others, Others, gays, poor, unemployed, deviants, perverts, criminals, condemned, sick, deranged, stupid, worthless.

“Débarrassez-moi de ces déchets humains”


Slums, bidonvilles

Ubiquitous graffiti

Recycled, récupérés

Renewed, whitewashed, washed, scrubbed clean, sterilized, inoculated, purified, restored, recovered, reused, used up, rejected, rejetté, thrown away, trashed

Trash that needs to be thrown out. Where does the need come from if there is no agency? Where does the need to establish a boundary, to separate clean and pure from dangerous, different, other, come from if not by a choice?

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Medium 9780253002952

11 “Te Amo, Te Amo, Te Amo”: Lorenzo Antonio and Sparx Performing Nuevo México Music Peter J. García

ARTURO J ALDAMA Indiana University Press ePub


It’s a hot summer afternoon and I am driving with my mother and my tío or her oldest brother heading west on Interstate 40 entering Albuquerque’s city limits following an intense extended family reunion held over the Fourth of July weekend held in my maternal ancestral village of el Torreon near Manzano, Abó, Chilili, Tajique, Estancia, and Mountainair in Torrance County. These picturesque New Mexican village communities remain hidden byways and represent some of the last bastions of the former Spanish pastoral rancheritos and former Mexican land grants from throughout the Río Abajo. Older Nuevomexicano residents remain rooted here and to the former ways of life that have survived now for centuries in a place twice colonized but which remains home to a unique raza heritage and a rooted, what Alicia Gaspar de Alba calls “alter-Native” Chicana/o culture with a unique New Mexican style in culinary and visual arts, architecture, music, language, and expressive culture. Throughout the entire Río Abajo, Mexicano settlements continue the older way of rural living with milpas, and similar to northern New Mexico and southern Colorado, further picturesque chains of village hamlets situated throughout the Sandía, Sangre de Cristo, Jemez, and Manzano mountain communities are located north, northeast, and directly east of Albuquerque. Many of my maternal family members and close relatives now live in Alburquerque but return often to the maternal village and my grandparents’ terreno for various family gatherings, solemn occasions, and fiestas.

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