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Culture ? Movs.World
The long recovery of cinema in Europe
In Paris, La Nouvelle Seine, a floating springboard for comedians
The death of the Italian novelist Antonio Pennacchi
In Haiti, Yanick Lahens dips his feather in the asphalt
?The Suns of Independence?, indictment novel about the world according to
the drifting Mekong
?Summer Without Return?, by Giuseppe Santoliquido: a disturbing disappearance in Basilicata
mountaineering without rope, extreme philosophy of life
Gouzel Iakhina, storyteller going against the grain of sovietism
the master of the ?feel-good movie?

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                    [title] => The long recovery of cinema in Europe
                    [link] => https://movs.world/the-long-recovery-of-cinema-in-europe/
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                            [creator] => Susan Hally
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                    [pubdate] => Tue, 10 Aug 2021 04:07:34 +0000
                    [category] => CulturecinemaEuropelongrecovery
                    [guid] => https://movs.world/the-long-recovery-of-cinema-in-europe/
                    [description] => ANTOINE MOREAU DUSAULT The effects of the pandemic still act on European cinema like a...
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The effects of the pandemic still act on European cinema like a sticky bad dream from which it is difficult to extricate oneself. “It will take time for cinemas to come out of eighteen months of hard crisis”, assures Laura Houlgatte, Director General of the International Union of Cinemas (UNIC), which represents the national associations of European exhibitors. Despite everything, it remains fairly optimistic about the sector’s ability to rebound. By highlighting two encouraging phenomena: “After the last theatrical closure period, attendance has resumed very strongly due to the presence of American films – they were sorely lacking last year – and highly anticipated national films”, she says. Added to this is the certainty that “The cinemas are safe places, since no contamination has been traced there and the sanitary rules are well applied”.

Today, the majority of cinemas in Europe remain handicapped by the obligation to respect a spectator gauge which, depending on the country, is between 50% and 65%. In France, this restriction was ended on Wednesday June 30. However, the health pass has been in effect there since Wednesday, July 21. This measure, strongly criticized by French operators and distributors for having been implemented too quickly and without consultation, is however already applied without anyone finding fault in ten European countries.

Today, the majority of cinemas in Europe remain handicapped by the obligation to respect a spectator gauge which, depending on the country, is between 50% and 65%.

The first to adopt it, Denmark has just put an end to it due to health improvements, but this sesame remains in force in Greece and Austria – where, as in Italy, a first vaccine injection is sufficient -, in Cyprus, Hungary, Latvia, Romania and even half of the Länder in Germany.

Attendance suffers. “Where the health pass is compulsory since the reopening of the rooms on 1is July, as in Berlin, admissions are down 15% to 20% compared to July 2019 ?, specifies Christian Bräeur, president of the International Confederation of arthouse cinemas, at the head of fifteen cinemas in Berlin. In Dresden, on the other hand, where this document is not necessary, attendance remains equivalent to that of July 2019, he adds.

You have 66.79% of this article to read. The rest is for subscribers only.

) [wfw] => Array ( [commentrss] => https://movs.world/the-long-recovery-of-cinema-in-europe/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => ANTOINE MOREAU DUSAULT The effects of the pandemic still act on European cinema like a... [atom_content] =>

The effects of the pandemic still act on European cinema like a sticky bad dream from which it is difficult to extricate oneself. “It will take time for cinemas to come out of eighteen months of hard crisis”, assures Laura Houlgatte, Director General of the International Union of Cinemas (UNIC), which represents the national associations of European exhibitors. Despite everything, it remains fairly optimistic about the sector’s ability to rebound. By highlighting two encouraging phenomena: “After the last theatrical closure period, attendance has resumed very strongly due to the presence of American films – they were sorely lacking last year – and highly anticipated national films”, she says. Added to this is the certainty that “The cinemas are safe places, since no contamination has been traced there and the sanitary rules are well applied”.

Today, the majority of cinemas in Europe remain handicapped by the obligation to respect a spectator gauge which, depending on the country, is between 50% and 65%. In France, this restriction was ended on Wednesday June 30. However, the health pass has been in effect there since Wednesday, July 21. This measure, strongly criticized by French operators and distributors for having been implemented too quickly and without consultation, is however already applied without anyone finding fault in ten European countries.

Today, the majority of cinemas in Europe remain handicapped by the obligation to respect a spectator gauge which, depending on the country, is between 50% and 65%.

The first to adopt it, Denmark has just put an end to it due to health improvements, but this sesame remains in force in Greece and Austria – where, as in Italy, a first vaccine injection is sufficient -, in Cyprus, Hungary, Latvia, Romania and even half of the Länder in Germany.

Attendance suffers. “Where the health pass is compulsory since the reopening of the rooms on 1is July, as in Berlin, admissions are down 15% to 20% compared to July 2019 ?, specifies Christian Bräeur, president of the International Confederation of arthouse cinemas, at the head of fifteen cinemas in Berlin. In Dresden, on the other hand, where this document is not necessary, attendance remains equivalent to that of July 2019, he adds.

You have 66.79% of this article to read. The rest is for subscribers only.

[date_timestamp] => 1628568454 ) [1] => Array ( [title] => In Paris, La Nouvelle Seine, a floating springboard for comedians [link] => https://movs.world/in-paris-la-nouvelle-seine-a-floating-springboard-for-comedians/ [comments] => https://movs.world/in-paris-la-nouvelle-seine-a-floating-springboard-for-comedians/#respond [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Mon, 09 Aug 2021 18:16:30 +0000 [category] => CulturecomediansfloatingNouvelleParisSeinespringboard [guid] => https://movs.world/in-paris-la-nouvelle-seine-a-floating-springboard-for-comedians/ [description] => The scene of the barge La Nouvelle Seine, July 27, 2013. CHRISTINE COQUILLEAU NAÏT SIDNAS... [content] => Array ( [encoded] =>

Quai de Montebello in Paris, descend the staircase that leads to the banks of the Seine, walk on the cobblestones along the river, admire the viewpoint of Notre-Dame, then climb the footbridge that leads to La Nouvelle Seine. It is in this postcard setting that a pretty barge is moored, which has become, in less than ten years, one of the best places to discover new comedians.

My first trip to La Nouvelle Seine dates back to 2014. It had opened its doors a few months ago. It took a certain nerve to create an independent performance hall in a capital full of theaters and theaters. It piqued my curiosity. After the main deck – made up of a bar and a restaurant topped by a glass roof with a breathtaking view of the cathedral – you have to go down a few steps to reach the fitted hold. There, one hundred and fifteen seats face a pretty little stage decorated with spotlights like those surrounding the mirrors in theater boxes.

Article reserved for our subscribers Read also Why are there so many comedians in France?

It is in this red and black den that Jessie Varin, at the artistic bar of the place, programs her ” favorites “ and his “Discoveries”, including many female artists. After having worked for several years at the Point-Virgule café-theater where, from hostess to communications manager, she “Learned everything”, the young woman trusts her instincts.

It is rare that we are disappointed

In 2014, I took pleasure in discovering the madness of Bun Hay Mean, known as ?Chinese Funny?, and the writing quality of Audrey Vernon for Heartache. Very quickly, La Nouvelle Seine became one of my regular addresses to capture the evolution of the comedy scene, especially stand-up.

In 2015, Guillaume Meurice, who has since become France Inter’s most podcasted columnist, presents That is the demand of the people ?, the beginnings of his taste for irreverence in the face of institutions “Dominant” and communicators. Then in 2016, I made my most beautiful humorous discovery: Blanche Gardin in her first solo I need to talk to you. Hanging from his lips, stunned by his boldness and the quality of his black humor, I come out of this show packed. We know the rest of his career and his incredible success, but Blanche Gardin remained faithful to La Nouvelle Seine to launch her creations.

Read also The French one-man-show from all angles

Whether they are new faces like Giorgia Sinicorni, Julie Bargeton, Réda Seddiki, etc., or more established artists who have come to run their new shows, like Noémie de Lattre in 2017 with Feminist for men or Géraldine Martineau in 2018 with Love me (two more great discoveries), it is rare that we are disappointed. More recently, the astonishing Doully and the Belgian newcomer Fanny Ruwet made the heyday of La Nouvelle Seine. And we can’t wait to discover Audrey Vernon’s new creation at the start of the school year, Billion dollar baby.

You have 9.65% of this article left to read. The rest is for subscribers only.

) [wfw] => Array ( [commentrss] => https://movs.world/in-paris-la-nouvelle-seine-a-floating-springboard-for-comedians/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => The scene of the barge La Nouvelle Seine, July 27, 2013. CHRISTINE COQUILLEAU NAÏT SIDNAS... [atom_content] =>

Quai de Montebello in Paris, descend the staircase that leads to the banks of the Seine, walk on the cobblestones along the river, admire the viewpoint of Notre-Dame, then climb the footbridge that leads to La Nouvelle Seine. It is in this postcard setting that a pretty barge is moored, which has become, in less than ten years, one of the best places to discover new comedians.

My first trip to La Nouvelle Seine dates back to 2014. It had opened its doors a few months ago. It took a certain nerve to create an independent performance hall in a capital full of theaters and theaters. It piqued my curiosity. After the main deck – made up of a bar and a restaurant topped by a glass roof with a breathtaking view of the cathedral – you have to go down a few steps to reach the fitted hold. There, one hundred and fifteen seats face a pretty little stage decorated with spotlights like those surrounding the mirrors in theater boxes.

Article reserved for our subscribers Read also Why are there so many comedians in France?

It is in this red and black den that Jessie Varin, at the artistic bar of the place, programs her ” favorites “ and his “Discoveries”, including many female artists. After having worked for several years at the Point-Virgule café-theater where, from hostess to communications manager, she “Learned everything”, the young woman trusts her instincts.

It is rare that we are disappointed

In 2014, I took pleasure in discovering the madness of Bun Hay Mean, known as ?Chinese Funny?, and the writing quality of Audrey Vernon for Heartache. Very quickly, La Nouvelle Seine became one of my regular addresses to capture the evolution of the comedy scene, especially stand-up.

In 2015, Guillaume Meurice, who has since become France Inter’s most podcasted columnist, presents That is the demand of the people ?, the beginnings of his taste for irreverence in the face of institutions “Dominant” and communicators. Then in 2016, I made my most beautiful humorous discovery: Blanche Gardin in her first solo I need to talk to you. Hanging from his lips, stunned by his boldness and the quality of his black humor, I come out of this show packed. We know the rest of his career and his incredible success, but Blanche Gardin remained faithful to La Nouvelle Seine to launch her creations.

Read also The French one-man-show from all angles

Whether they are new faces like Giorgia Sinicorni, Julie Bargeton, Réda Seddiki, etc., or more established artists who have come to run their new shows, like Noémie de Lattre in 2017 with Feminist for men or Géraldine Martineau in 2018 with Love me (two more great discoveries), it is rare that we are disappointed. More recently, the astonishing Doully and the Belgian newcomer Fanny Ruwet made the heyday of La Nouvelle Seine. And we can’t wait to discover Audrey Vernon’s new creation at the start of the school year, Billion dollar baby.

You have 9.65% of this article left to read. The rest is for subscribers only.

[date_timestamp] => 1628532990 ) [2] => Array ( [title] => The death of the Italian novelist Antonio Pennacchi [link] => https://movs.world/the-death-of-the-italian-novelist-antonio-pennacchi/ [comments] => https://movs.world/the-death-of-the-italian-novelist-antonio-pennacchi/#respond [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Mon, 09 Aug 2021 12:05:37 +0000 [category] => CultureAntonioDeathItaliannovelistPennacchi [guid] => https://movs.world/the-death-of-the-italian-novelist-antonio-pennacchi/ [description] => Born January 26, 1950, in Latina (Italy), Antonio Pennacchi worked for thirty years in a... [content] => Array ( [encoded] =>

First a worker, then a writer. Antonio Pennacchi always proudly recalled his proletarian origins, an inescapable foundation of his human and cultural identity. The Italian novelist, who died on August 3 in Latina, near Rome, at the age of 71, as his publisher Mondadori confirmed to the Italian press, never denied his attachment to popular culture, even when , in 2010, Mussolini Canal (Liana Levi, 2012) was crowned with the Strega Prize, the most prestigious of Italian literary prizes. Suddenly finding himself at the center of the literary scene, hailed as a major writer of his time, did not prevent him from continuing to consider himself first and foremost as an autodidact.

Born January 26, 1950, in Latina, Pennacchi worked for thirty years in a cable factory, where he participated in all the struggles that shook the working class during the 1970s and 1980s. In 1986, during a period of unemployment technically, he embarked on the writing of his first novel, Mammoth (Liana Levi, 2013), largely inspired by her experience of the factory, a universe which, at the time, had only very rarely been approached by Italian writers. The manuscript, whose writing was for him a real initiation journey, suffered countless refusals from publishers, before being finally published in 1994 by Donzelli, a small Roman publishing house. This remarkable story, in which the author expresses his pride as a worker in a colorful writing, will be the first of a dozen novels which, little by little, will establish him as one of the most original voices of Italian literature of recent decades.

The ideological mistakes of his youth

After two more books on the working world, Antonio Pennacchi published, in 2003, My brother is an only child (Le Dilettante, 2007), in which he traces the ideological mistakes of his youth, in the midst of a seething decade of political confrontation – the original version bore the title The Communist Fascio (“The Fascist-Communist”). First entered the seminary and then in the ranks of the neofascist Italian Social Movement, which he had joined in opposition to his left-wing family background, he ended up activating within a small Maoist group, in a whirlwind of adventures. family, political and sentimental. From this picaresque novel, characterized by an overflowing vitality and a tasty language, the director Daniele Luchetti made in 2006 a very beautiful film, which was a great success, contributing to the fame of Antonio Pennacchi.

You have 39.34% of this article left to read. The rest is for subscribers only.

) [wfw] => Array ( [commentrss] => https://movs.world/the-death-of-the-italian-novelist-antonio-pennacchi/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => Born January 26, 1950, in Latina (Italy), Antonio Pennacchi worked for thirty years in a... [atom_content] =>

First a worker, then a writer. Antonio Pennacchi always proudly recalled his proletarian origins, an inescapable foundation of his human and cultural identity. The Italian novelist, who died on August 3 in Latina, near Rome, at the age of 71, as his publisher Mondadori confirmed to the Italian press, never denied his attachment to popular culture, even when , in 2010, Mussolini Canal (Liana Levi, 2012) was crowned with the Strega Prize, the most prestigious of Italian literary prizes. Suddenly finding himself at the center of the literary scene, hailed as a major writer of his time, did not prevent him from continuing to consider himself first and foremost as an autodidact.

Born January 26, 1950, in Latina, Pennacchi worked for thirty years in a cable factory, where he participated in all the struggles that shook the working class during the 1970s and 1980s. In 1986, during a period of unemployment technically, he embarked on the writing of his first novel, Mammoth (Liana Levi, 2013), largely inspired by her experience of the factory, a universe which, at the time, had only very rarely been approached by Italian writers. The manuscript, whose writing was for him a real initiation journey, suffered countless refusals from publishers, before being finally published in 1994 by Donzelli, a small Roman publishing house. This remarkable story, in which the author expresses his pride as a worker in a colorful writing, will be the first of a dozen novels which, little by little, will establish him as one of the most original voices of Italian literature of recent decades.

The ideological mistakes of his youth

After two more books on the working world, Antonio Pennacchi published, in 2003, My brother is an only child (Le Dilettante, 2007), in which he traces the ideological mistakes of his youth, in the midst of a seething decade of political confrontation – the original version bore the title The Communist Fascio (“The Fascist-Communist”). First entered the seminary and then in the ranks of the neofascist Italian Social Movement, which he had joined in opposition to his left-wing family background, he ended up activating within a small Maoist group, in a whirlwind of adventures. family, political and sentimental. From this picaresque novel, characterized by an overflowing vitality and a tasty language, the director Daniele Luchetti made in 2006 a very beautiful film, which was a great success, contributing to the fame of Antonio Pennacchi.

You have 39.34% of this article left to read. The rest is for subscribers only.

[date_timestamp] => 1628510737 ) [3] => Array ( [title] => In Haiti, Yanick Lahens dips his feather in the asphalt [link] => https://movs.world/in-haiti-yanick-lahens-dips-his-feather-in-the-asphalt/ [comments] => https://movs.world/in-haiti-yanick-lahens-dips-his-feather-in-the-asphalt/#respond [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sun, 08 Aug 2021 11:12:27 +0000 [category] => CultureasphaltdipsfeatherHaitiLahensYanick [guid] => https://movs.world/in-haiti-yanick-lahens-dips-his-feather-in-the-asphalt/ [description] => Yanick Lahens, in 2018. PHILIPPE MATSAS / OPALE VIA LEEMAGE “The island-world”, where the writer... [content] => Array ( [encoded] =>

“The island-world”, where the writer was born in 1953, is her life’s work.

In 2015, Sabine Wespieser published a pocket version of Yanick Lahens’ first novel, In the father’s house (The Feathered Serpent, 2000). At the beginning of the book, a girl is dancing in a blue dress to a ragtime tune. Alice Bienaimé performs a controlled series of movements. She moves her feet, claps her hands, waddles from right to left. Then the narrator leaves the house. Accompanied by the attenuated sound of the gramophone, it spins “Until I get a little dizzy … And suddenly, something like a dark and cheerful force takes me back and changes my rhythms”.

African heritage

Here is that his body escapes the conventional sequence of movements, it is as if liberated. The girl gets rid of her shoes and white socks. She dances barefoot, bending her knees, waving her back, and squatting to the floor. His movements are now frantic, nothing can stop him. ?After a while, I don’t dance anymore, it’s the dance that crosses me and makes my blood beat. “ This moment of elation is abruptly interrupted by Alice’s father. He slaps her. Such a dance, which the narrator saw in a suburb of Port-au-Prince, has nothing to do here, in the opulent home of this family of the black petty bourgeoisie.

Read also the tribune “Haiti is neither a nightmare nor a postcard”

There is in this father, affected to see his depraved daughter because she no longer has any shoes or control over her body, something that evokes The Turn of the Nut by Henry James (1898), when children are seen as corrupt because they come back from a walk without their hat. With James as with the Haitian writer, fear does not spring from what is seen but from fantasies and ghosts that the vision awakens. In the show of his daughter dancing barefoot, the father sees the rural Haitian world and the African heritage with which he no longer wants to have anything to do with.

After a while, she no longer writes, it is Haiti that crosses her and makes her blood beat

The question of origins and transmission; deep knowledge of the country, of the basis of its culture; understanding the fate of the world’s first black republic are the strong themes of Yanick Lahens’ work. However, if we find them from his first novel, the opening scene does not only announce the questions that it will not cease to probe, especially in his novels. The Color of Dawn and Moon bath, or in the news of The Parker Bird at night (Sabine Wespieser, 2008, 2014 and 2019). It can also be read as a projection of what the author, after the example of her heroine, from the petty black bourgeoisie of Port-au-Princienne, intends to do with fiction: to get rid of the corset of her milieu to plunge your pen into the asphalt, or earth, of Haiti, and tell the stories of its inhabitants. After a while, she no longer writes, it is Haiti that crosses her and makes her blood beat, one might say. So that the author’s style follows the rhythm of each period and each space she invests.

You have 34.34% of this article left to read. The rest is for subscribers only.

) [wfw] => Array ( [commentrss] => https://movs.world/in-haiti-yanick-lahens-dips-his-feather-in-the-asphalt/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => Yanick Lahens, in 2018. PHILIPPE MATSAS / OPALE VIA LEEMAGE “The island-world”, where the writer... [atom_content] =>

“The island-world”, where the writer was born in 1953, is her life’s work.

In 2015, Sabine Wespieser published a pocket version of Yanick Lahens’ first novel, In the father’s house (The Feathered Serpent, 2000). At the beginning of the book, a girl is dancing in a blue dress to a ragtime tune. Alice Bienaimé performs a controlled series of movements. She moves her feet, claps her hands, waddles from right to left. Then the narrator leaves the house. Accompanied by the attenuated sound of the gramophone, it spins “Until I get a little dizzy … And suddenly, something like a dark and cheerful force takes me back and changes my rhythms”.

African heritage

Here is that his body escapes the conventional sequence of movements, it is as if liberated. The girl gets rid of her shoes and white socks. She dances barefoot, bending her knees, waving her back, and squatting to the floor. His movements are now frantic, nothing can stop him. ?After a while, I don’t dance anymore, it’s the dance that crosses me and makes my blood beat. “ This moment of elation is abruptly interrupted by Alice’s father. He slaps her. Such a dance, which the narrator saw in a suburb of Port-au-Prince, has nothing to do here, in the opulent home of this family of the black petty bourgeoisie.

Read also the tribune “Haiti is neither a nightmare nor a postcard”

There is in this father, affected to see his depraved daughter because she no longer has any shoes or control over her body, something that evokes The Turn of the Nut by Henry James (1898), when children are seen as corrupt because they come back from a walk without their hat. With James as with the Haitian writer, fear does not spring from what is seen but from fantasies and ghosts that the vision awakens. In the show of his daughter dancing barefoot, the father sees the rural Haitian world and the African heritage with which he no longer wants to have anything to do with.

After a while, she no longer writes, it is Haiti that crosses her and makes her blood beat

The question of origins and transmission; deep knowledge of the country, of the basis of its culture; understanding the fate of the world’s first black republic are the strong themes of Yanick Lahens’ work. However, if we find them from his first novel, the opening scene does not only announce the questions that it will not cease to probe, especially in his novels. The Color of Dawn and Moon bath, or in the news of The Parker Bird at night (Sabine Wespieser, 2008, 2014 and 2019). It can also be read as a projection of what the author, after the example of her heroine, from the petty black bourgeoisie of Port-au-Princienne, intends to do with fiction: to get rid of the corset of her milieu to plunge your pen into the asphalt, or earth, of Haiti, and tell the stories of its inhabitants. After a while, she no longer writes, it is Haiti that crosses her and makes her blood beat, one might say. So that the author’s style follows the rhythm of each period and each space she invests.

You have 34.34% of this article left to read. The rest is for subscribers only.

[date_timestamp] => 1628421147 ) [4] => Array ( [title] => ?The Suns of Independence?, indictment novel about the world according to [link] => https://movs.world/the-suns-of-independence-indictment-novel-about-the-world-according-to/ [comments] => https://movs.world/the-suns-of-independence-indictment-novel-about-the-world-according-to/#respond [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sun, 08 Aug 2021 08:05:21 +0000 [category] => CultureindependenceindictmentSunsworld [guid] => https://movs.world/the-suns-of-independence-indictment-novel-about-the-world-according-to/ [description] => Ivorian writer Ahmadou Kourouma, in Paris, October 30, 2000. EMMANUEL PAIN / AFP Those who... [content] => Array ( [encoded] =>

Those who knew him remember his colossus stature, his thunderous laughter, his simplicity and, also, his embarrassment when he had to speak in public. A poor speaker, Ahmadou Kourouma nonetheless loved words deeply, to the point of collecting dictionaries by the dozen.

Gifted since childhood for figures, the Ivorian author aligned statistics day by day as an insurance professional. At night, he opened up to the other part of himself to immerse himself in the writing of texts, seeking at length to combine words, images and rhythm until he brought back his loot: books whose language owed as much to his childhood culture than to his critical eye on African societies and the world.

Article reserved for our subscribers Read also Ahmadou Kourouma, a master of African literature

Born in 1927 in a small village in Côte d’Ivoire, Ahmadou Kourouma was steeped in the traditions of the Malinké ethnic group. Raised by a paternal uncle, he was initiated into the secrets and rites of the brotherhood of hunters. “His genius, says biographer Jean-Michel Djian, is to have created a language in which his native oral language serves as a guide to constantly fabricate, violate, hijack, provoke the French language. And of that he does a work. “

Rebellious spirit

School, where he is forbidden to speak anything other than French, reveals his gifts in mathematics, his athletic abilities and? his rebellious spirit. At 20, he began higher technical studies in Bamako but ended up being sent back to Côte d’Ivoire for indiscipline. He was then enlisted as a ?Senegalese? rifleman and sent to Indochina. He will not return to his country until after independence, once he has completed his studies at the Institute of Actuaries in Lyon.

His first novel, The Suns of Independence, features a distraught beggar character, Fama Doumbouya, a nobleman from ancient times that the advent of a new political era, in the 1960s, left by the wayside. Ruined, deposed, disoriented, the prince of Horodougou has left his province for the capital and is trying somehow to survive there.

Article reserved for our subscribers Read also The 100 novels that have excited “Le Monde” the most since 1944

We discover him at the beginning of the book, in a hurry to go to a funeral where he hopes to take part of the offerings distributed at the end of the ceremony. Arrived late, Fama suffered the taunts of a griot ignorant of his lineage. The offended aristocrat pretends to fight so as not to lose face, but ends up accepting the sum offered to him as reparation. His pitiful attitude does not deceive: ?Fama was going to be at the next ones as well as at all the Malinké ceremonies in the capital; we knew it; for where have we seen the hyena deserting the surroundings of the cemeteries and the vulture behind the huts? “

In this indictment novel, Ahmadou Kourouma settles his accounts with “The era of bastardism” inaugurated by leaders whom the writer considers illegitimate. Instead of opening up radiant horizons for Africa, the “Suns” independence burned the past, shattered the hope of the people and allowed a minority of individuals to benefit from the great bailout of political change.

Child soldiers

?What did independence bring to Fama?, asks Ahmadou Kourouma. Nothing but the national identity card and that of the single party. They are the pieces of the poor in the share and have the dryness and hardness of the flesh of the bull. He can shoot it with the canines of a hungry hound, nothing to draw, nothing to suck, it’s nerve, it does not chew. “

First refused by the editions of Seuil and Présence africaine, the manuscript won a literary competition in Canada and appeared in the Presses Universitaires de Montréal in 1968. Finally published by Seuil in 1970, the novel has continued to be popular since then. reissued.

Article reserved for our subscribers Read also “Allah is not obliged”, by Ahmadou Kourouma, the Africa of child soldiers

Ahmadou Kourouma, he remained for twenty years the author of a single work. Then three novels appeared: Mon, outrages and challenges (1990), Waiting for the vote of the wild beasts (1998) and the flamboyant Allah is not obligated (2000). This tragedy featuring child soldiers won the Renaudot prize and the Goncourt prize for high school students in France. Here again, the uneasy Ivorian castigates the contempt of African leaders for the fate of young people. Died in 2003, he leaves behind a demanding and eminently original work.

Summary of our series “Discovering African classics”

) [wfw] => Array ( [commentrss] => https://movs.world/the-suns-of-independence-indictment-novel-about-the-world-according-to/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => Ivorian writer Ahmadou Kourouma, in Paris, October 30, 2000. EMMANUEL PAIN / AFP Those who... [atom_content] =>

Those who knew him remember his colossus stature, his thunderous laughter, his simplicity and, also, his embarrassment when he had to speak in public. A poor speaker, Ahmadou Kourouma nonetheless loved words deeply, to the point of collecting dictionaries by the dozen.

Gifted since childhood for figures, the Ivorian author aligned statistics day by day as an insurance professional. At night, he opened up to the other part of himself to immerse himself in the writing of texts, seeking at length to combine words, images and rhythm until he brought back his loot: books whose language owed as much to his childhood culture than to his critical eye on African societies and the world.

Article reserved for our subscribers Read also Ahmadou Kourouma, a master of African literature

Born in 1927 in a small village in Côte d’Ivoire, Ahmadou Kourouma was steeped in the traditions of the Malinké ethnic group. Raised by a paternal uncle, he was initiated into the secrets and rites of the brotherhood of hunters. “His genius, says biographer Jean-Michel Djian, is to have created a language in which his native oral language serves as a guide to constantly fabricate, violate, hijack, provoke the French language. And of that he does a work. “

Rebellious spirit

School, where he is forbidden to speak anything other than French, reveals his gifts in mathematics, his athletic abilities and? his rebellious spirit. At 20, he began higher technical studies in Bamako but ended up being sent back to Côte d’Ivoire for indiscipline. He was then enlisted as a ?Senegalese? rifleman and sent to Indochina. He will not return to his country until after independence, once he has completed his studies at the Institute of Actuaries in Lyon.

His first novel, The Suns of Independence, features a distraught beggar character, Fama Doumbouya, a nobleman from ancient times that the advent of a new political era, in the 1960s, left by the wayside. Ruined, deposed, disoriented, the prince of Horodougou has left his province for the capital and is trying somehow to survive there.

Article reserved for our subscribers Read also The 100 novels that have excited “Le Monde” the most since 1944

We discover him at the beginning of the book, in a hurry to go to a funeral where he hopes to take part of the offerings distributed at the end of the ceremony. Arrived late, Fama suffered the taunts of a griot ignorant of his lineage. The offended aristocrat pretends to fight so as not to lose face, but ends up accepting the sum offered to him as reparation. His pitiful attitude does not deceive: ?Fama was going to be at the next ones as well as at all the Malinké ceremonies in the capital; we knew it; for where have we seen the hyena deserting the surroundings of the cemeteries and the vulture behind the huts? “

In this indictment novel, Ahmadou Kourouma settles his accounts with “The era of bastardism” inaugurated by leaders whom the writer considers illegitimate. Instead of opening up radiant horizons for Africa, the “Suns” independence burned the past, shattered the hope of the people and allowed a minority of individuals to benefit from the great bailout of political change.

Child soldiers

?What did independence bring to Fama?, asks Ahmadou Kourouma. Nothing but the national identity card and that of the single party. They are the pieces of the poor in the share and have the dryness and hardness of the flesh of the bull. He can shoot it with the canines of a hungry hound, nothing to draw, nothing to suck, it’s nerve, it does not chew. “

First refused by the editions of Seuil and Présence africaine, the manuscript won a literary competition in Canada and appeared in the Presses Universitaires de Montréal in 1968. Finally published by Seuil in 1970, the novel has continued to be popular since then. reissued.

Article reserved for our subscribers Read also “Allah is not obliged”, by Ahmadou Kourouma, the Africa of child soldiers

Ahmadou Kourouma, he remained for twenty years the author of a single work. Then three novels appeared: Mon, outrages and challenges (1990), Waiting for the vote of the wild beasts (1998) and the flamboyant Allah is not obligated (2000). This tragedy featuring child soldiers won the Renaudot prize and the Goncourt prize for high school students in France. Here again, the uneasy Ivorian castigates the contempt of African leaders for the fate of young people. Died in 2003, he leaves behind a demanding and eminently original work.

Summary of our series “Discovering African classics”

[date_timestamp] => 1628409921 ) [5] => Array ( [title] => the drifting Mekong [link] => https://movs.world/the-drifting-mekong/ [comments] => https://movs.world/the-drifting-mekong/#respond [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sun, 08 Aug 2021 07:03:35 +0000 [category] => CulturedriftingMekong [guid] => https://movs.world/the-drifting-mekong/ [description] => In the Mekong Delta, Vietnam. MARTIN BERTRAND / HANS LUCAS ?The Dog-Eared Book of my... [content] => Array ( [encoded] =>

?The Dog-Eared Book of my Life? (Dog-Eared Paperback of my Life), by Lucius Shepard, translated from English (United States) by Jean-Daniel Brèque, Le Bélial ‘, ?Une hour-lumière?, 135 p., ? 9.90, digital ? 5.

Going up, to appreciate the classification and the list of his works, the course of the Amazon river, the novelist Thomas Cradle, American star of genre literature and narrator-hero of the Dog-eared book of my life (published in 2009 in the United States) by American novelist Lucius Shepard (1943-2014), suddenly comes up against an aberrant obstacle: The Tea Forest, novel signed with a perfect double and complete double, released, moreover, by its own publisher. Cradle’s Tale 2 – A Descent of the Mekong “In a second-hand fishing boat”, from Laos to Vietnam, by four backpackers meeting, « voyage (?) infused with a dark atmosphere of shabby crime ” – and above all the unhealthy dizziness and toxic musicality that the heady crawling of his sentences diffuses appear to Thomas Cradle as the monstrous double of his own universe. The psychic shock and the playful excitement brought about by this discovery lead him to buckle up his bag, haunted by the desire to embody the text, to live as closely as possible the trip narrated in the novel.

Great wizard of the imagination

So begins for him, along the river and in the shadow of The Tea Forest, a neopicaresque drift by turns planned and adventurous in the course of which Lucius Shepard, as a great wizard of the imagination and faithful heir to Conrad, creates a heady cocktail of postcolonial delights, interweaving morbid evocation of a Cambodia undermined by trafficking at all time and tourism of all kinds, improbable river hikes, orgiastic sessions and amazing rituals. A world and a way of approaching life that Shepard knows perfectly well.

As Conrad’s loyal heir, Shepard creates a heady cocktail of postcolonial delights

In fact, breaking up the family at the age of 15, he became a ceaseless globetrotter, crisscrossing Europe, North Africa, the Middle East and then Asia; exercising, depending on the day and the stages, the activity of salesman in Spain, of bouncer in Cairo, covering even, but much later, the war in El Salvador. It was in the early 1980s that he began to build a considerable (and multi-award-winning) work of nearly 13 novels and 108 short stories, in which fantasy (Le Dragon Griaule, Le Bélial ‘, 2011), fantasy and science fiction, and where he delivers a dystopian or even apocalyptic vision of contemporary reality.

You have 50.49% of this article left to read. The rest is for subscribers only.

) [wfw] => Array ( [commentrss] => https://movs.world/the-drifting-mekong/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => In the Mekong Delta, Vietnam. MARTIN BERTRAND / HANS LUCAS ?The Dog-Eared Book of my... [atom_content] =>

?The Dog-Eared Book of my Life? (Dog-Eared Paperback of my Life), by Lucius Shepard, translated from English (United States) by Jean-Daniel Brèque, Le Bélial ‘, ?Une hour-lumière?, 135 p., ? 9.90, digital ? 5.

Going up, to appreciate the classification and the list of his works, the course of the Amazon river, the novelist Thomas Cradle, American star of genre literature and narrator-hero of the Dog-eared book of my life (published in 2009 in the United States) by American novelist Lucius Shepard (1943-2014), suddenly comes up against an aberrant obstacle: The Tea Forest, novel signed with a perfect double and complete double, released, moreover, by its own publisher. Cradle’s Tale 2 – A Descent of the Mekong “In a second-hand fishing boat”, from Laos to Vietnam, by four backpackers meeting, « voyage (?) infused with a dark atmosphere of shabby crime ” – and above all the unhealthy dizziness and toxic musicality that the heady crawling of his sentences diffuses appear to Thomas Cradle as the monstrous double of his own universe. The psychic shock and the playful excitement brought about by this discovery lead him to buckle up his bag, haunted by the desire to embody the text, to live as closely as possible the trip narrated in the novel.

Great wizard of the imagination

So begins for him, along the river and in the shadow of The Tea Forest, a neopicaresque drift by turns planned and adventurous in the course of which Lucius Shepard, as a great wizard of the imagination and faithful heir to Conrad, creates a heady cocktail of postcolonial delights, interweaving morbid evocation of a Cambodia undermined by trafficking at all time and tourism of all kinds, improbable river hikes, orgiastic sessions and amazing rituals. A world and a way of approaching life that Shepard knows perfectly well.

As Conrad’s loyal heir, Shepard creates a heady cocktail of postcolonial delights

In fact, breaking up the family at the age of 15, he became a ceaseless globetrotter, crisscrossing Europe, North Africa, the Middle East and then Asia; exercising, depending on the day and the stages, the activity of salesman in Spain, of bouncer in Cairo, covering even, but much later, the war in El Salvador. It was in the early 1980s that he began to build a considerable (and multi-award-winning) work of nearly 13 novels and 108 short stories, in which fantasy (Le Dragon Griaule, Le Bélial ‘, 2011), fantasy and science fiction, and where he delivers a dystopian or even apocalyptic vision of contemporary reality.

You have 50.49% of this article left to read. The rest is for subscribers only.

[date_timestamp] => 1628406215 ) [6] => Array ( [title] => ?Summer Without Return?, by Giuseppe Santoliquido: a disturbing disappearance in Basilicata [link] => https://movs.world/summer-without-return-by-giuseppe-santoliquido-a-disturbing-disappearance-in-basilicata/ [comments] => https://movs.world/summer-without-return-by-giuseppe-santoliquido-a-disturbing-disappearance-in-basilicata/#respond [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sun, 08 Aug 2021 06:32:21 +0000 [category] => CultureBasilicatadisappearancedisturbingGiuseppereturnSantoliquidosummer [guid] => https://movs.world/summer-without-return-by-giuseppe-santoliquido-a-disturbing-disappearance-in-basilicata/ [description] => In the region of Potenza, in Basilicata (Italy). KAOS02/SIME/PHOTONONSTOP “Summer without Return”, by Giuseppe Santoliquido,... [content] => Array ( [encoded] =>

“Summer without Return”, by Giuseppe Santoliquido, Gallimard, 272 p., ? 20, digital ? 15.

Welcome to Ravina, a village straight out of the author’s imagination, but as we find many in Basilicata, this mountainous region nestled between Calabria and Puglia. It is in this land both harsh and luminous, emptied of its inhabitants gone to find fortune in the city or abroad, that a tragedy occurs on the evening of the annual festival, the frisella. Chiara, a beautiful and exuberant teenager, the niece of one of the local personalities, Serrai, disappears.

An Italian village away from the tourist circuits, a disturbing disappearance, a community bubbling with annealed hatreds? We could be dealing here with the ideal ingredients of a thriller to read on the beach. If Giuseppe Santoliquido masters the art of suspense, Summer of no return is much more than that. He skillfully juggles with registers, mixing black novel, chronicle of a region “Of which we say (?) that it is a bit like God himself, real and imaginary, not allowing itself to be easily described or reached by time ?, and Balzacian x-ray of a rural society torn by rivalry, stupidity and slander.

By winding paths

The author, who writes in French and lives in Belgium, draws characters of an unusual thickness, astonishes by his sense of nuance, spares moments of flight with powerful lyricism. From this group portrait, a man emerges: Pasquale Serrai, whom “Everyone called Serrai, only Serrai, insisting on the last syllable, like a long cry of pain escapes you.” This shady, wild and proud peasant, who dedicates his life to his fields, his vines and his animals, ends up accusing himself of the murder of Chiara. The community is torn apart, bringing to the surface centuries of secrets and resentments as television spares the disaster, turning a family’s pain into a large-audience spectacle.

Is Serrai a saint, is he a monster? The most important thing in this beautiful novel is not the resolution of the mystery, but rather the paths that the author takes to tell this story. The narration is carried by Sandro, a relative of the family, taken in by Serrai after the accidental death of his parents. The young man, ostracized for his homosexuality, leads the story along winding paths like the souls of men: ?We are only shadows and shadows, only tangles to be unraveled. “ To delve deep into the darkness and bring forth the humanity which persists despite everything, it is the tour de force that this intense achieves Summer of no return.

You have 1.84% of this article to read. The rest is for subscribers only.

) [wfw] => Array ( [commentrss] => https://movs.world/summer-without-return-by-giuseppe-santoliquido-a-disturbing-disappearance-in-basilicata/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => In the region of Potenza, in Basilicata (Italy). KAOS02/SIME/PHOTONONSTOP “Summer without Return”, by Giuseppe Santoliquido,... [atom_content] =>

“Summer without Return”, by Giuseppe Santoliquido, Gallimard, 272 p., ? 20, digital ? 15.

Welcome to Ravina, a village straight out of the author’s imagination, but as we find many in Basilicata, this mountainous region nestled between Calabria and Puglia. It is in this land both harsh and luminous, emptied of its inhabitants gone to find fortune in the city or abroad, that a tragedy occurs on the evening of the annual festival, the frisella. Chiara, a beautiful and exuberant teenager, the niece of one of the local personalities, Serrai, disappears.

An Italian village away from the tourist circuits, a disturbing disappearance, a community bubbling with annealed hatreds? We could be dealing here with the ideal ingredients of a thriller to read on the beach. If Giuseppe Santoliquido masters the art of suspense, Summer of no return is much more than that. He skillfully juggles with registers, mixing black novel, chronicle of a region “Of which we say (?) that it is a bit like God himself, real and imaginary, not allowing itself to be easily described or reached by time ?, and Balzacian x-ray of a rural society torn by rivalry, stupidity and slander.

By winding paths

The author, who writes in French and lives in Belgium, draws characters of an unusual thickness, astonishes by his sense of nuance, spares moments of flight with powerful lyricism. From this group portrait, a man emerges: Pasquale Serrai, whom “Everyone called Serrai, only Serrai, insisting on the last syllable, like a long cry of pain escapes you.” This shady, wild and proud peasant, who dedicates his life to his fields, his vines and his animals, ends up accusing himself of the murder of Chiara. The community is torn apart, bringing to the surface centuries of secrets and resentments as television spares the disaster, turning a family’s pain into a large-audience spectacle.

Is Serrai a saint, is he a monster? The most important thing in this beautiful novel is not the resolution of the mystery, but rather the paths that the author takes to tell this story. The narration is carried by Sandro, a relative of the family, taken in by Serrai after the accidental death of his parents. The young man, ostracized for his homosexuality, leads the story along winding paths like the souls of men: ?We are only shadows and shadows, only tangles to be unraveled. “ To delve deep into the darkness and bring forth the humanity which persists despite everything, it is the tour de force that this intense achieves Summer of no return.

You have 1.84% of this article to read. The rest is for subscribers only.

[date_timestamp] => 1628404341 ) [7] => Array ( [title] => mountaineering without rope, extreme philosophy of life [link] => https://movs.world/mountaineering-without-rope-extreme-philosophy-of-life/ [comments] => https://movs.world/mountaineering-without-rope-extreme-philosophy-of-life/#respond [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sat, 07 Aug 2021 18:07:29 +0000 [category] => CultureextremelifemountaineeringPhilosophyrope [guid] => https://movs.world/mountaineering-without-rope-extreme-philosophy-of-life/ [description] => Climber Alex Honnold during the ascent of El Capitan in full solo, without equipment or... [content] => Array ( [encoded] =>

NATIONAL GEOGRAPHIC – SATURDAY AUGUST 7 AT 9 P.M. – DOCUMENTARY

“At the slightest mistake, do you die?” “, abruptly asks an American journalist. ” You understood everything “, smiles Alex Honnold. The frail American, then 33 years old, is a follower of “free solo”, or full solo, that is to say mountaineering without ropes or equipment. On the occasion of the launch of the special program “The great National Geographic documentaries”, the channel rebroadcasts the report devoted to one of the aces of this ultimate discipline of climbing, and his ascent, on June 3, 2017, to ‘El Capitan, 915-meter rock face in Yosemite National Park, California – a historic first.

For two years, a small team of cameramen and technicians, all experienced mountaineers, followed the preparations until the feat. A proximity which allows to better define the personality of the athlete, without deviating from the essential: the free solo is potentially fatal. Alex Honnold has made this his philosophy: ? Anyone can die at any time. Full solo, it’s just more present and more immediate. ”

Read also: The “Wall of Dawn” has fallen

Tommy Caldwell, winner with Kevin Jorgeson of the 900m of the Capitan’s Dawn Wall in 2015, and close friend of Alex, delivers some keys. So, in free solo, we never talk about our projects in advance and we build ourselves “Mental armor”. That any romantic relationship can weaken. But precisely? Alex Honnold has recently been seeing Sanni.

On love as on death, Alex Honnold remains unmoved: « [Les filles] say they care about me, but if I die, they’ll find another one. “ Even cold sincerity about her divorced parents. Alex describes himself as a child “Dark, melancholy (?) and out of date “, who did solo rock climbing because he didn’t know anyone. “Almost doesn’t count”, his mother kept telling him, who never hugged him. Today, “No matter what I do, it’s never good enough, he said. It clearly motivated me to do free solo. »

Dramatic intensity

Beyond the psychological analysis of ?Why do we practice extreme sport? », The documentary provides an interesting scientific answer, to be discovered after an MRI. Before approaching – well, seventeen minutes from the end! – the ascent itself.

“Left hand on the handle, reverse the hands …” Freeblast (300 m), the most slippery area. By dint of passing day after day through the same passage, Alex has in mind a mental map of all the difficulties. At Enduro Corner, Tommy Caldwell looks away.

Read also “False mountaineers”, climbers Tommy Caldwell and Alex Honnold were honored with a Piolet d’Or

The dizzying images are superb. In the mineral ocean stands out a red dot: Alex Honnold’s t-shirt. The dramatic intensity has earned Free Solo to win the 2019 Oscar for best documentary. But the viewer, knowing the happy outcome, does not necessarily feel it on the small screen. The shots of the faces of friends and technicians, on the other hand, recall the fear felt.

?The worst-case scenario is that one of us does something that causes our death. (?) And nobody wants that ?, one of the cameramen explained. ” I do not know “, Alex Honnold replied calmly. Saturday July 10 in France, a young man of 29, practicing free solo in the Alpine massif of Belledonne, died after having fallen from a hundred meters.

Free Solo, by Jimmy Chin and Elizabeth Chai Vasarhelyi (EU, 2018, 100 min). National Geographic

) [wfw] => Array ( [commentrss] => https://movs.world/mountaineering-without-rope-extreme-philosophy-of-life/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => Climber Alex Honnold during the ascent of El Capitan in full solo, without equipment or... [atom_content] =>

NATIONAL GEOGRAPHIC – SATURDAY AUGUST 7 AT 9 P.M. – DOCUMENTARY

“At the slightest mistake, do you die?” “, abruptly asks an American journalist. ” You understood everything “, smiles Alex Honnold. The frail American, then 33 years old, is a follower of “free solo”, or full solo, that is to say mountaineering without ropes or equipment. On the occasion of the launch of the special program “The great National Geographic documentaries”, the channel rebroadcasts the report devoted to one of the aces of this ultimate discipline of climbing, and his ascent, on June 3, 2017, to ‘El Capitan, 915-meter rock face in Yosemite National Park, California – a historic first.

For two years, a small team of cameramen and technicians, all experienced mountaineers, followed the preparations until the feat. A proximity which allows to better define the personality of the athlete, without deviating from the essential: the free solo is potentially fatal. Alex Honnold has made this his philosophy: ? Anyone can die at any time. Full solo, it’s just more present and more immediate. ”

Read also: The “Wall of Dawn” has fallen

Tommy Caldwell, winner with Kevin Jorgeson of the 900m of the Capitan’s Dawn Wall in 2015, and close friend of Alex, delivers some keys. So, in free solo, we never talk about our projects in advance and we build ourselves “Mental armor”. That any romantic relationship can weaken. But precisely? Alex Honnold has recently been seeing Sanni.

On love as on death, Alex Honnold remains unmoved: « [Les filles] say they care about me, but if I die, they’ll find another one. “ Even cold sincerity about her divorced parents. Alex describes himself as a child “Dark, melancholy (?) and out of date “, who did solo rock climbing because he didn’t know anyone. “Almost doesn’t count”, his mother kept telling him, who never hugged him. Today, “No matter what I do, it’s never good enough, he said. It clearly motivated me to do free solo. »

Dramatic intensity

Beyond the psychological analysis of ?Why do we practice extreme sport? », The documentary provides an interesting scientific answer, to be discovered after an MRI. Before approaching – well, seventeen minutes from the end! – the ascent itself.

“Left hand on the handle, reverse the hands …” Freeblast (300 m), the most slippery area. By dint of passing day after day through the same passage, Alex has in mind a mental map of all the difficulties. At Enduro Corner, Tommy Caldwell looks away.

Read also “False mountaineers”, climbers Tommy Caldwell and Alex Honnold were honored with a Piolet d’Or

The dizzying images are superb. In the mineral ocean stands out a red dot: Alex Honnold’s t-shirt. The dramatic intensity has earned Free Solo to win the 2019 Oscar for best documentary. But the viewer, knowing the happy outcome, does not necessarily feel it on the small screen. The shots of the faces of friends and technicians, on the other hand, recall the fear felt.

?The worst-case scenario is that one of us does something that causes our death. (?) And nobody wants that ?, one of the cameramen explained. ” I do not know “, Alex Honnold replied calmly. Saturday July 10 in France, a young man of 29, practicing free solo in the Alpine massif of Belledonne, died after having fallen from a hundred meters.

Free Solo, by Jimmy Chin and Elizabeth Chai Vasarhelyi (EU, 2018, 100 min). National Geographic

[date_timestamp] => 1628359649 ) [8] => Array ( [title] => Gouzel Iakhina, storyteller going against the grain of sovietism [link] => https://movs.world/gouzel-iakhina-storyteller-going-against-the-grain-of-sovietism/ [comments] => https://movs.world/gouzel-iakhina-storyteller-going-against-the-grain-of-sovietism/#respond [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sat, 07 Aug 2021 13:58:42 +0000 [category] => CultureGouzelgrainIakhinasovietismstoryteller [guid] => https://movs.world/gouzel-iakhina-storyteller-going-against-the-grain-of-sovietism/ [description] => FRED PÉAULT SNo doubt this is the price of success, the sign that Gouzel Yakhina... [content] => Array ( [encoded] =>

SNo doubt this is the price of success, the sign that Gouzel Yakhina is one of the great contemporary Russian writers. Barely announced the release of his third book, last March, and here are the controversies that flow. The first died quickly: yes, to write Echelon na Samarkand (?Convoy for Samarcande?, not translated), Gouzel Iakhina was well inspired by the work of several researchers, but to see it as plagiarism is absurd.

In fact, the subject of the book is specific: the famines which struck in 1921-1922 the regions of the Volga, the Dnieper and the North Caucasus, due to the drought but above all to the disorganization due to the civil war and the first collectivizations. Russia knows little about this tragic episode, and the historical writings on the subject are thin, unlike the famines of the 1930s, notably the Ukrainian Holodomor.

The other critics were more expected: commentators criticized Gouzel Iakhina for choosing this subject, in which they see a desire, if not a relentlessness, to ” leave “ memory of the Soviet Union. His first novel, the superb Zouleïkha opens his eyes (Noir sur blanc editions, 2017), immersed by a Tatar peasant woman in Stalinist repressions, had been the object of similar attacks. Its serial adaptation, almost concomitant with the release of Convoy to Samarkand, further increased public pressure on the 44-year-old writer.

Historical amnesia

Each year that passes sees Russia tense up a little more on memorial issues, under the leadership of its president. Vladimir Putin only wants to see Russian history as a monolithic block where glory can only rub shoulders with suffering if the latter is the act of external enemies. The time has come for rewriting more than for a peaceful memory, and the dead of the Second World War are more popular than those of the Gulag.

Article reserved for our subscribers Read also How Vladimir Putin gags historians to better rewrite Russian history

The convoy is the one that has to take 500 orphans by train from the hunger-stricken Volga to Samarkand, in Central Asia. Children die, others are added to the convoy, but it is above all the adults and their torments that interest Gouzel Iakhina – political commissar, men of the NKVD, simple combatants, peasants crossed on the way … all immersed in this « Eastern rouge », in the words of the author.

Despite the heaviness of the theme, Gouzel Iakhina makes his book a luminous work, as was Zouleïkha opens his eyes. An adventure novel more than a chronicle of despair, ?Convoy for Samarcande? occasionally evokes a marvelous tale, full of a grace that turns to naivety. ?It takes the reader to the end of this tragic story, notes literary critic Rusina Shikhatova. And it is a conscious choice of the author, thanks to which she reaches an important and younger audience, for example, than that of Ludmila Oulitskaïa. Faced with historical amnesia, we see that there is nothing left but literature and, to a lesser extent, cinema. “ After two months in bookstores, ?Convoi pour Samarcande? has already sold 100,000 copies.

You have 1.99% of this article left to read. The rest is for subscribers only.

) [wfw] => Array ( [commentrss] => https://movs.world/gouzel-iakhina-storyteller-going-against-the-grain-of-sovietism/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => FRED PÉAULT SNo doubt this is the price of success, the sign that Gouzel Yakhina... [atom_content] =>

SNo doubt this is the price of success, the sign that Gouzel Yakhina is one of the great contemporary Russian writers. Barely announced the release of his third book, last March, and here are the controversies that flow. The first died quickly: yes, to write Echelon na Samarkand (?Convoy for Samarcande?, not translated), Gouzel Iakhina was well inspired by the work of several researchers, but to see it as plagiarism is absurd.

In fact, the subject of the book is specific: the famines which struck in 1921-1922 the regions of the Volga, the Dnieper and the North Caucasus, due to the drought but above all to the disorganization due to the civil war and the first collectivizations. Russia knows little about this tragic episode, and the historical writings on the subject are thin, unlike the famines of the 1930s, notably the Ukrainian Holodomor.

The other critics were more expected: commentators criticized Gouzel Iakhina for choosing this subject, in which they see a desire, if not a relentlessness, to ” leave “ memory of the Soviet Union. His first novel, the superb Zouleïkha opens his eyes (Noir sur blanc editions, 2017), immersed by a Tatar peasant woman in Stalinist repressions, had been the object of similar attacks. Its serial adaptation, almost concomitant with the release of Convoy to Samarkand, further increased public pressure on the 44-year-old writer.

Historical amnesia

Each year that passes sees Russia tense up a little more on memorial issues, under the leadership of its president. Vladimir Putin only wants to see Russian history as a monolithic block where glory can only rub shoulders with suffering if the latter is the act of external enemies. The time has come for rewriting more than for a peaceful memory, and the dead of the Second World War are more popular than those of the Gulag.

Article reserved for our subscribers Read also How Vladimir Putin gags historians to better rewrite Russian history

The convoy is the one that has to take 500 orphans by train from the hunger-stricken Volga to Samarkand, in Central Asia. Children die, others are added to the convoy, but it is above all the adults and their torments that interest Gouzel Iakhina – political commissar, men of the NKVD, simple combatants, peasants crossed on the way … all immersed in this « Eastern rouge », in the words of the author.

Despite the heaviness of the theme, Gouzel Iakhina makes his book a luminous work, as was Zouleïkha opens his eyes. An adventure novel more than a chronicle of despair, ?Convoy for Samarcande? occasionally evokes a marvelous tale, full of a grace that turns to naivety. ?It takes the reader to the end of this tragic story, notes literary critic Rusina Shikhatova. And it is a conscious choice of the author, thanks to which she reaches an important and younger audience, for example, than that of Ludmila Oulitskaïa. Faced with historical amnesia, we see that there is nothing left but literature and, to a lesser extent, cinema. “ After two months in bookstores, ?Convoi pour Samarcande? has already sold 100,000 copies.

You have 1.99% of this article left to read. The rest is for subscribers only.

[date_timestamp] => 1628344722 ) [9] => Array ( [title] => the master of the ?feel-good movie? [link] => https://movs.world/the-master-of-the-feel-good-movie/ [comments] => https://movs.world/the-master-of-the-feel-good-movie/#respond [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sat, 07 Aug 2021 13:26:56 +0000 [category] => CulturefeelgoodmasterMovie [guid] => https://movs.world/the-master-of-the-feel-good-movie/ [description] => American director Frank Capra, right, with Frank Sinatra, during the filming of “Hole in the... [content] => Array ( [encoded] =>

FRANCE CULTURE – ON DEMAND – DOCUMENTARY PORTRAIT

Thirty years ago, on September 3, 1991, American multi-Oscar winner Frank Capra died at the ripe old age of 94. Happy, recognized, respected, rich. Twenty years earlier, he had written his autobiography, The Name Above the Title (“The name before the title” Da Capo Press, 1971). A nod to remind that he was one of the only directors, along with Alfred Hitchcock, to see his name appear above the film title on posters and credits.

However, when was released in 1946 Life is Beautiful, one of his most famous films – and his personal favorite, still broadcast each year on American (and French) television at the time of the end of the year celebrations – it does not win. This social fable which ends well, with its precise sense of the comedy and the dramaturgy, is the metaphorical account of its own life.

Read also: Frank Capra or the factory of happiness

Capra was born in Sicily in 1897. He landed in the United States in 1903, at age 6, in Los Angeles (California). He believes in the American dream and lives it: he will be the only one of his siblings to study. Graduated in chemistry in 1918, he became a screenwriter for the burlesque short films of Mack Sennett, which turned Charlie Chaplin and Buster Keaton among others. His fruitful collaboration with the comedian Harry Langdon opened the doors to realization.

Social tales

The successes are linked: New York-Miami (1934) wins the Oscar for best film; L?Extravagant Mr. Deeds (1936), that of the best director; You won’t take it with you (1938), a new Oscar for best film and best director. Mr. Smith in the Senate (1939) was such a triumph that it made Columbia Pictures, then a studio “Shabby man who makes small, inexpensive productions”, the rival of big majors like Paramount or Warner.

In the 1930s, when the United States was in the throes of the Great Depression, Capra stages social tales where ethics and solidarity prevail to reverse the most desperate situations. From her autobiography and with the enthusiastic insight of three film historians, Perrine Kervran reluctantly retraces the career of the master of feel good movie, which will inspire filmmakers like Steven Spielberg or Oliver Stone.

Read the obituary (in 1991): Frank Capra, the champion of the Rooseveltian democratic ideal

The rich film clips, as well as the commentaries of the screenwriter Baya Kasmi (Name of people, 2010, Hippocrates, 2014) and Christian Viviani, coordinator and editor of the cinema review Positive, bring more cinematographic perspectives. One regret, however: the passage on the ambivalence of the political convictions of this real propagandist of his adopted country would have deserved more development.

Frank Capra, a life as a script, documentary portrait of Perrine Kervran, directed by Christine Diger, for the show ” A lifetime “ (Fr., 2016, 58 min), available on franceculture.fr

) [wfw] => Array ( [commentrss] => https://movs.world/the-master-of-the-feel-good-movie/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => American director Frank Capra, right, with Frank Sinatra, during the filming of “Hole in the... [atom_content] =>

FRANCE CULTURE – ON DEMAND – DOCUMENTARY PORTRAIT

Thirty years ago, on September 3, 1991, American multi-Oscar winner Frank Capra died at the ripe old age of 94. Happy, recognized, respected, rich. Twenty years earlier, he had written his autobiography, The Name Above the Title (“The name before the title” Da Capo Press, 1971). A nod to remind that he was one of the only directors, along with Alfred Hitchcock, to see his name appear above the film title on posters and credits.

However, when was released in 1946 Life is Beautiful, one of his most famous films – and his personal favorite, still broadcast each year on American (and French) television at the time of the end of the year celebrations – it does not win. This social fable which ends well, with its precise sense of the comedy and the dramaturgy, is the metaphorical account of its own life.

Read also: Frank Capra or the factory of happiness

Capra was born in Sicily in 1897. He landed in the United States in 1903, at age 6, in Los Angeles (California). He believes in the American dream and lives it: he will be the only one of his siblings to study. Graduated in chemistry in 1918, he became a screenwriter for the burlesque short films of Mack Sennett, which turned Charlie Chaplin and Buster Keaton among others. His fruitful collaboration with the comedian Harry Langdon opened the doors to realization.

Social tales

The successes are linked: New York-Miami (1934) wins the Oscar for best film; L?Extravagant Mr. Deeds (1936), that of the best director; You won’t take it with you (1938), a new Oscar for best film and best director. Mr. Smith in the Senate (1939) was such a triumph that it made Columbia Pictures, then a studio “Shabby man who makes small, inexpensive productions”, the rival of big majors like Paramount or Warner.

In the 1930s, when the United States was in the throes of the Great Depression, Capra stages social tales where ethics and solidarity prevail to reverse the most desperate situations. From her autobiography and with the enthusiastic insight of three film historians, Perrine Kervran reluctantly retraces the career of the master of feel good movie, which will inspire filmmakers like Steven Spielberg or Oliver Stone.

Read the obituary (in 1991): Frank Capra, the champion of the Rooseveltian democratic ideal

The rich film clips, as well as the commentaries of the screenwriter Baya Kasmi (Name of people, 2010, Hippocrates, 2014) and Christian Viviani, coordinator and editor of the cinema review Positive, bring more cinematographic perspectives. One regret, however: the passage on the ambivalence of the political convictions of this real propagandist of his adopted country would have deserved more development.

Frank Capra, a life as a script, documentary portrait of Perrine Kervran, directed by Christine Diger, for the show ” A lifetime “ (Fr., 2016, 58 min), available on franceculture.fr

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