Elliott Chandler, author of the film review for ‘You Carry Me’.

You Carry Me (Ti Mene Nosiš, 2015) is a film produced in Croatia, which originally aired as a television series, Da sam ja netko (If I Were Someone). Ti Mene Nosiš is available on Netflix as You Carry Me (2016) with subtitles in five languages. The purchase of the rights to You Carry Me by Netflix is among the film’s many successes. Other successes include the naming of Ivona Juka as ‘the laureate in the film section […] writing and directing her feature debut.’ The dialogue is a colourful Zagrebtonian language with traditional Balkan passion. Dora, Ives and Nataša face deteriorating relationships with their fathers: Neglected Dora is reunited with her father in the text; Ives is struggling to care for her father, Ivan, who has Alzheimer’s; and Nataša, who is pregnant, comes face-to-face with the father who abandoned her. The director identifies father-daughter relationships as the most significant aspect of the film. The plot centres on changing relationships between men and women, between fathers and daughters, and also between husbands and brothers. These are complex stories, and they are wrapped in some wonderful cinematography that showcases admirable storytelling and affective symbolism.

To read more reviews, visit Elliott’s blog here. Elliott is an English Literature graduate, and is interested in history, romanticism, and Serbo-Croat culture.

The film review for ‘Ti Mene Nosiš/You Carry Me’ by Elliott Chandler (The School of Slavonic and East European Studies, University College London) was published in SLOVO Journal, VOL 29.1, and can be read in full here. 

Posted by Borimir Totev, Executive Editor of SLOVO Journal

Aron Kerpel-Fronius, author of ‘Pole and Hungarian Cousins Be? A Comparison of State Media Capture, Ideological Narratives and Political Truth Monopolization in Hungary and Poland’.

Aron is a Hungarian post-graduate student at the flagship IMESS programme at University College London, studying Economics and Politics. He is set to spend the next academic year at the Jagiellonian University in Krakow. Aron’s main research interests include illiberal parties and civil societies of EEA, particularly within the Visegrad group. Aron is also planning to pursue a PhD programme in the same field next year. Currently, he is an intern at Transparency International Hungary, and from next month, will be starting another internship in Krakow’s Kosciuszko Institute, a Polish think tank specialising in cyber security, using this opportunity do deepen his knowledge on Polish language and culture.

Public discourse is shaped through various factors; in his article, Aron focuses explicitly on the two governments’ treatment of the media landscape, as it is the biggest and most effective platform for this purpose. The paper argues that both Fidesz and PiS are attempting to capture the state and private media, using these to propagate their political ideology. Thus by monopolising media discourse and portraying themselves as the representatives of the people on all three symbolic levels, the two governments attempt to discredit any civil or parliamentary opposition group, and emerge as the sole central political force domestically. The aim of the paper is to compare the extent to which the Fidesz and PiS government managed to succeed in this attempt to the present day.

Posted by Borimir Totev, Executive Editor of SLOVO Journal

Iglika Grebenarova, author of the film review for ‘Revolution: New Art for a New World’.

Iglika is a student at the New York University, majoring in International Relations and minoring in Cinema Studies, set to graduate in May of 2018. She is passionate about European affairs, and the intersection between cinema and politics, as well as art’s ability to both reflect and form ideological discourse. As well as being an intern at the Ayn Rand Institute in June 2015, Iglika has interned for the Bulgarian Ministry of Foreign Affairs and the Center for the Study of Democracy. Other parts of Iglika Grebenarova’s research has previously focused on 60’s European cinema, Romanian New Wave, and Film Festival Politics.

In her film review for SLOVO Journal, Iglika focuses on Director Margy Kinmonth’s latest film as the pinnacle of her exploration of the secrets of Russian art spanning over more than three decades. Revolution: New Art for a New World is a spectacular documentary made to commemorate the Bolshevik Revolution of 1917 and to demonstrate the crucial importance of art for the creation of the new regime. With the remarkable breadth and depth of its scope, the film creates an exhilarating depiction of one of modern history’s most tumultuous periods and immerses its viewers into the inseparable mixture of art and politics that shaped humanity’s future for decades to come.

Posted by Borimir Totev, Executive Editor of SLOVO Journal

Ksenia Pavlenko, author of ‘A Pause in Peripheral Perspectives: Sergei Diaghilev’s 1898 Exhibition of Russian and Finnish Art’.

Ksenia is the Website and Social Media Manager and a member of the Advisory Board for the Cambridge Courtauld Russian Art Centre. She is an MPhil candidate in History of Art at the University of Cambridge, supervised by Dr. Rosalind Polly Blakesley, researching the visual culture of Finland as a Grand Duchy of the Russian Empire. Her studies extend from the establishment of Helsinki as a capital city in the early nineteenth century, to Finnish participation in early twentieth century artistic developments on an international scale. Ksenia completed her BA in History of Art and English Literature at the City University of New York in 2013, after which she worked for institutions such at the International Center of Photography and American Federation of Arts.

Ksenia’s SLOVO Journal article examines three years of monumental change in Finnish-Russian cultural relations at the fin de siècle. The territory of Finland had enjoyed autonomy and economic development for the greater part of the nineteenth century as a Grand Duchy of the Russian Empire. Sergei Diaghilev’s 1898 Exhibition of Russian and Finnish Art exemplifies how this positive dynamic began to manifest itself in transcultural exchange. Diaghilev sought for Russia’s creative circles to follow the Finnish example of engaging with Western European artistic developments while refining a distinct national vision. Such a dynamic would have appeased imperial interests in promoting its Russian heritage while allowing Finns to continue to express their distinct culture. The Russification Programme, initiated in 1899, changed an amicable relationship between the Russian Empire and its Finnish territory to one of oppression. The rich cultural heritage Finnish intellectuals had developed throughout the nineteenth century was quickly mobilised to resist imperial oppression, exemplified in the Finnish Pavilion at the 1900 Paris Exposition Universelle. The collaborative potential of Diaghilev’s 1898 exhibition was replaced by a resounding call for Finnish autonomy at the 1900 Finish Pavilion. The period of 1898-1900 demonstrates how quickly Finland’s embrace of nineteenth-century nationalism transformed from a cultural blossoming to a politicised quest for autonomy.

Posted by Borimir Totev, Executive Editor of SLOVO Journal