Пространство фильма как зона контакта: киносъемки с участием коренных малочисленных народов Севера, Сибири и Дальнего Востока на рубеже 1920-х – 1930-х гг.

Caroline Damiens (1, 2)

1 CREE EA 4513 - Centre de recherches Europes-Eurasie
2 Inalco - Institut National des Langues et Civilisations Orientales

The aim of the article is to question the case of Indigenous participation (non-professional actors, guides and hired help) in Soviet films at the end of the 1920s and the beginning of the 1930s, in order to fully understand the relation between those who film and those who are filmed in the case of fictionalized ethnographic films. Indigenous collaboration to filmmaking complicates the nature of film production as well as the view on film history as the product of filmmakers alone. I would like to highlight the permanent tensions and negotiations lying at the heart of the filming-filmed relation and suggest that the site of the film is a contact zone or a negotiated space where Indigenous contributions help shape the final visual product. This article aims at locating the relatively subverting role of Indigenous participants in restricting the space of the film in order to retake possession of some practices, forbidden by the Soviet power.

Mots clés: film; Indigenous peoples; ethnographic film; cinema of Soviet Union

Domaines: Art et histoire de l'art

Caroline Damiens. Пространство фильма как зона контакта: киносъемки с участием коренных малочисленных народов Севера, Сибири и Дальнего Востока на рубеже 1920-х – 1930-х гг.. Северные грани, 2016, 6, pp.50-63. ⟨hal-01434168⟩