Trouble in Mouseland: Trouble in Mouseland

The original Little House books were a series of eight autobiographical children's novels written by Laura Ingalls Wilder and published by Harper & Brothers.

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K: Including Andrei Smirnov. Yes, somehow it was an interesting bunch of artists. These guys, if I think about them now, were all younger than me. In the s, what was for them? For them, and the executions, the fear, the torture, mud, blood, screams — that was the distant past. So they were like Argonauts escaping from Scylla and Charybdis. I think there was a lot of complicity between them.

K: Well first and foremost he was a Zionist. He supported poor Jews, and he had wonderful people around him. And we just knew that [some of] these people were on the Central Committee. They were officials and they had to speak differently. We knew it and we forgave them. Meanwhile Romm was teaching us about Fellini. I remember he talked to us about La Dolce Vita for a whole week. That kind of opening for him maybe pushed him to do something on his own — like making a documentary.

C: Yes, the way it links in with the historic past. C: When I think of the time you are talking about, I remember my friendship with the director Leonid Trauberg , whom I visited regularly and helped a little on a few of his last projects. And so we went off to a ceremonial showing, and it was indeed a terrible film! But it was that sense of loyalty between the directors of that time, the complicity that you mentioned.

K: Looking back at all these guys now, people like Yutkevich, they went through such hard times and such a time warp. All Yutkevich wanted was to go and live in Paris. All he wanted was to go and have tea with Picasso and have some pictures of himself there and speak a little French. I want to see a bit of the world. Personally I think that masterpieces can be produced in times of dictatorship.

The Case of Comrade Tulayev by Victor Serge

Don Quixote , for example, or Ivan the Terrible , or the other completely communist movies that Eisenstein and Dovzhenko were doing. The question is how we can be sure today what is good and what is bad in terms of ethics. If we talk about art, I consider myself a jester, nothing more. K: Yes, I understand that. They have an effect on certain people, and they change certain people for a certain amount of time. K: Otherwise it would be enough to have the Bhagavad Gita , the Bible and the Koran to live in a perfect world. Just these three books are enough to be perfect! The means are different and the process is the same.

You know he has a wonderful idea that I completely share: that technical progress and knowledge are cumulative things — they accumulate and expand - but ethics does not. Gray says that the achievements of one generation in ethics can be completely ruined by the next generation. So all warnings are important, but at the same time useless. K: I was thinking about making a film about it.

It fits perfectly! I mean there is censorship involved in the films that Putin wants to finance with my brother [Nikita Mikhalkov] and the Russian Cultural Foundation.

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But films that are shot without this kind of money — films where you find investors yourself — you can make interesting movies. What do you feel about the younger Russian filmmakers of today? K: I think there are several really interesting young directors: Khrzhanovsky , Popogrebsky , the young German, Khlebnikov And they want me to make a speech there. I wanted to leave the Union myself, but my brother asked me not to do it. My brother, unfortunately, became too much of a politician and with his ideas it ruins him.

Films of the Russian Empire (1908-1917)

A talented man K: When you see these s films now, you see the ecstatic desire of the nation to build a new society. It was very Russian, this ecstatic desire, and very religious, as Berdyaev knew. Chekhov wrote about this. You see great enthusiasm in these films. This enthusiasm is in a sense exaggerated, but purely Russian. Russians are totalists. And we have the same complexes as Africa often has.

We want to be white. Do they read him today?

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K: Well, those who read, read! In that sense one of the biggest delusions of the West has been that Russians are white. Western society involves a kind of indoctrination, an internalisation of ethical codes in its citizens. But the ethical code of a Russian is as loose as a pagan. We are not Europeans; we do not have this indoctrination. We, however, are pagan.

Tolstoy wrote about it in his letter to the Synod — it was extraordinary! C: But surely Russians do have a canon of ethics, which comes out of their great writers of the nineteenth century, who were all preoccupied by ethical questions…. K: No, I disagree with you.

Андрей Рублев. Серия 1

Russian ethics came from before Christ. Russian Orthodox Christianity is extremely loose.

Comrade Genia : the story of a victim of German bestiality in Russia

If you go to church, the priest will absolve you from all your sins. This absolution makes Russians the biggest sinners anywhere. Emotions are much more important than rationality. No laws exist unless someone is watching over you with a club! You can break any law. In the Russian Orthodox Church the faithful receive complete absolution from their sins.

Konchalovsky: "this absolution makes Russians the biggest sinners anywhere".

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K: Yes, it was a European overlay. The state is transcendent for the Russian man. C: This connects with what you said earlier about how the Russian mass audience is so susceptible to the appeal of America. You can never put the clock back to that, although it was a time of great hope. K: Yes, this was a wonderful time — the silver age — for Russian culture. His love of land is completely atrophied. There are just a few individuals who dare to go back. Our society now is twelfth century.

  1. Il segreto della bambina sulla scogliera (Italian Edition)?
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  3. The Case of Comrade Tulayev.
  4. The reader follows the ramifications of the purge from a wide variety of perspectives: those of the investigators and those of the victims, including loyal Trotskyists. For Serge was convinced that individual existences are only meaningful in relation to the existence of all, especially in the epochs of revolutionary transformation. This loose yet dramatic form permits Serge to penetrate every aspect of Russian society from the lives of Arctic fishermen and peasants on a kolkhoze to the inner sanctum of the General Secretariat in the Kremlin.