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Open World Research Initiative (OWRI)

What's Left? A Century in Revolution

Tyneside Cinema and Durham University (in association with Cross-Language Dynamics (OWRI) and supported by the AHRC) present a special programme of film, visual art and discussions to mark the occasion of the centenary of the Russian Revolution of 1917.

The programme runs at the Tyneside from Friday 29 September to Sunday 8 October 2017.

See poster, press release and brochure. Book your ticket via the Tyneside cinema booking site.

Curated by the Durham OWRI team (with Dušan Radunović as lead curator), together with Úna Henry (as curator on behalf of Tyneside Cinema).


Friday 29 September opens the programme with the world premiere of the art film New Dead End #17: Summer School of Orientation in Zapatism by the Russian avant-garde collective Chto Delat? (What is to be done?), followed by a special screening of Sergei Eisenstein and Grigori Aleksandrov’s silent classic October: Ten Days That Shook The World, featuring a live piano score performed by John Snijders. The film is introduced by Dušan Radunović.


Saturday 30 September starts with the UK premiere of a recently restored print of Tomás Gutiérrez Alea's classic Memories of Underdevelopment (Memorias del Subdesarrollo) (1968). The screening is accompanied by a panel discussion on the Cuban revolution, titled Beyond Remembering: Revolution in Reflection, chaired by Francisco-J. Hernández Adrián, featuring guest speakers Jorge Catalá Carrasco (Newcastle University), Michael Chanan (University of Roehampton) and Dunja Fehimović (Newcastle University).

This is followed by the screening of Esto es lo que hay (2015), the UK premiere of a documentary focused on Los Aldeanos, Cuba’s popular hip-hop band, famous for its Rap Cubano style, conscious of the social, political, and economic problems affecting contemporary Cuban society. The screening is followed by Q&A with director Léa Rinaldi via Skype in discussion with Francisco-J. Hernández Adrián and Parvathi Kumaraswami (University of Reading).

The Saturday programme is completed by the art film Krisis (2016), by Dmitri Venkov. This is a theatrical re-enactment of a Facebook discussion among Russian and Ukrainian artists after the tearing down of the Lenin statue in Kiev during the Euromaidan protests of 2013-14. The screening is accompanied by Q&A with the author.


Sunday 1st October begins with the screening of The Uprising (2013), a documentary that creates an imaginary pan-Arab uprising out of videos made by the residents of Tunisia, Egypt, Bahrain, Libya, Syria and Yemen. The film is accompanied by a panel discussion, titled In the Hands of the Millennials: Technologies of Revolution, chaired by Anoush Ehteshami and featuring Emma Murphy (Durham University) and the film's director, Peter Snowdon.

This is followed by the screening of #chicagogirl: The Social Network Takes On A Dictator (2013), a documentary that tells a story of a Syrian-American teenage girl who from her suburban childhood bedroom in the US helps her social network in Damascus and Homs endure snipers and shelling in the streets.


Monday 2nd October is devoted to a school outreach event - a matiné screening of one of the most iconic films about a revolutionary uprising, Sergei Eisenstein’s Battleship Potemkin (1925), followed by a workshop lecture by Dušan Radunović on how visual representations of historical events shape our understanding of history. The session is designed for A-Level students.


Tuesday 3rd October features the documentary Once Upon a Time Proletarian (Women ceng jing de wuchanzhe) (2009), in which artist and filmmaker Xiaolu Guo profiles thirteen representatives of China’s ‘proletarian’ class today making sense of life as the country’s old Communist guard gives way to a new and less certain balance of socialism and capitalism. The screening is followed by a panel discussion, titled Changing of the Guard: Revolution across Generations, with Sabrina Yu (Newcastle Univeristy) and Sophia Woodman (Edinburgh University).


Wednesday 4th October is dedicated to Silvered Water (Ma’a al-Fidda), by Ossama Mohammed and Wiam Simav Bedirxan. The film distills footage from thousands of authentic videos to create a shattering, on-the-ground chronicle of the ordeal of ordinary Syrians in the ongoing revolutionary civil war. The screening is followed by a panel discussion, titled Beyond the Political: Cinema of the Real, chaired by Abir Hamdar, featuring guest speakers Malu Halasa (London-based journalist and author of Syria Speaks), Robin Yassin Kassab (Scotland-based Syrian-British writer), and Lina Khatib (Chatham House and SOAS, University of London).


Thursday 5th October foregrounds the topic of gender by showing The Trials of Spring (2015), a documentary about a young village woman caught up in the Egyptian revolution of 2011. This screening is accompanied by a panel discussion, titled Women on the Frontlines: Gender in Revolution, chaired by Abir Hamdar, featuring as guest speakers Maria Holt (University of Westminster) and Zahia Smail Salhi (University of Manchester).

This event is juxtaposed by a very different political deployment of gender in the documentary Pussy vs Putin (2013) - an eyewitness chronicle of the activities of Russia’s feminist anti-authoritarian protest group Pussy Riot, before and after the 2013 arrest and imprisonment of three of their members.


Friday 6th October examines the revolutionary overturn of Communism in Eastern Europe between 1989 and 1991. This includes the screening of The Event (2015), in which filmmaker Sergei Loznitsa pieces together what lay behind the supposed ‘birth of democracy’ in Russia in 1991. The screening is followed by Q&A with the director via Skype, with Dušan Radunović as discussant.

This day also features Harun Farocki and Andrei Ujică’s Videograms of a Revolution (1992), a film that focuses on the five days in December 1989 that brought down the Romanian dictator Nicolae Ceaușescu, showing how television became a key instrument of revolution, and the television studio a site in which history was made.


Saturday 7th October starts with a round table discussion, titled What’s Left? Rethinking Revolution through Visual Art and Cinema Today, in which the curatorial team (Dušan Radunović, Andy Byford, Abir Hamdar, Anoush Ehteshami and Francisco-J. Hernández Adrián) sum up the key themes of the special programme.

The discussion is followed by the screening of A Grin Without A Cat (Le fond de l’air est rouge) (1977), in which Chris Marker retraces the issues, events and debates that provoked the upsurge of political activity in France and across the world in the late 1960s and early 1970s: the rise of right-wing oppression and the crisis of the traditional left. In the author’s own words, the film is pitched against the historical amnesia caused by the television treatment of global events, where 'one event is swept away by another […] and it all finally descends into collective oblivion'.


Sunday 8th October serves as the programme's coda, in which revolution's transnationalism is brought to the fore by thematising its inherent connection with migration as a major theme of the turn of the 21st century. In this context, the programme features the art film Cayuco (2013), by Marcos Ávila Forero - a poetic evocation of the desperate journeys made by contemporary illegal migrants fleeing violence (discussed by Francisco-J. Hernández Adrián); and also the documentary My Father’s Choice (2017), in which director Yan Ting Yuen considers the connections between her father’s personal story of migration, as he fled Mao Zedong’s cultural revolution to eventually settle in the Netherlands, and the history of China since Mao.