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Workshop des Kulturwissenschaftlichen Forschungskollegs "Medien und kulturelle Kommunikation" (SFB/FK 247)

Teilprojekt B6

18. Dezember 2008, 10-17 Uhr
Ruhr-Universität Bochum, Institut für Medienwissenschaft
Euro-Eck (Spechtsweg)

Prof. Almira Ousmanova (Minsk/Vilnius)
Media and (post) public sphere New forms of counter cultural politics and cyberprotest in Eastern Europe

The presentation and the following discussion will be dedicated to the analysis of the transformations of public sphere and the raise of new forms of protest and political resistance which involve various forms of media activism and media-based cultural practices in some of the Post-Soviet countries. New types of publicness, that have been proliferating over the past decade or two, especially with the electronic media, not only force us to redefine the spatial, territorial and geopolitical parameters of the public sphere, but also urge us to rethink, once again, the function, scope and mode of intellectual activity in public sphere. Visual media irrevocably put into question claims to cultural centrality of the written or spoken word, challenging their normative function for the constitution of the public sphere, but also they seriously challenged the 'classical' concept of the “public sphere” which paid little attention to “the power of images”. Reformulating P. Bourdieu's thesis, one can say that nowadays the functioning of public sphere is almost entirely dominated by the logic of visual media (TV, Internet and cinema).

Almira Ousmanova is professor of Cultural Studies at the Faculty of Social Sciences, European Humanities University (Vilnius/Lithuania). Research on politics of identity, gender and visual studies. Author of Umberto Eco: The paradoxes of interpretation (2002) and editor of Visual (as) violence (2007).

Andrei Gonykh (Minsk/Vilnius)
Soviet modernity and cinema about the World War II

Soviet society passed through two phases of modernization. First one “hard” modernization of Stalinist times. There was the overtaking, accelerated modernization which created of heavy industry, new state apparatus, liquidation of illiteracy. Second “soft” phase took place in 1950-1960s and resulted in light industry, high technologies(atomic energy, space program), mass high education. These phases of modernization found their articulation in the number of canonical films of Soviet cinema. But I would like to analyse cinema about the World War II as a privileged though non-direct reflection of the dialectic of Soviet modernization. And the main questions are going to be: Is the modernity an empty technological form for quite different social contents (evolution of capitalism and communist utopia)? In which sense the cinema about the war functions not so much as an institution of memory as a mirror where different generations of Soviet people were trying to grasp their own ideal image?

Andrei Gonykh is professor of Cultural Studies at the Faculty of Social Sciences, European Humanities University (Vilnius/Lithuania)and co-director of the Center for Visual and Cultural Studies at EHU. Author of Formalism: From structure to text and beyond (2002) and Belarus: A case of anti-modern ideology (2005)

Veranstaltungstyp: Workshops

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