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Le cinéma d'animation d'agit-prop et le monde enchanté de la modernité : projeter Le Petit Samoyède aux confins du Nord de l'URSS

Abstract : At the end of the 1920s in the Soviet Union, the animation fulfilled an agit-prop function, like other cinematographic genres. Adhering to the Soviet movement for the cinematographic fact, animation rejected the illusion of “magic” and what the animators called the “cine-trick”. However, in its uses, the animated film, as well as the entire cinematographic device, were also used for their power of wonderment. Technology, of which cinema is one of the manifestations, was envisaged as a privileged instrument for modernization and the fight against the beliefs of the past that the regime wished to eliminate. This study aims to show the Soviet cultural workers were caught up in the magic dimension of cinema, particularly in the Siberian context where cinema is perceived as a substitute for the shamanic session, seen by the administrators as a spectacle to compete with. Taking the screening of the animated film Samoyed Boy (1928) to an indigenous audience as a case study, this paper replaces the animation about the peoples of the North in its context of diffusion using various archival documents (press, publications, production archives) in order to question the modernizing dimension of cinema, both in its representations and in its apparatus. Ultimately, it shows that the “magic” of cinematographic projection is invested as the enchanted space of the Sovietization of the country.
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Caroline Damiens. Le cinéma d'animation d'agit-prop et le monde enchanté de la modernité : projeter Le Petit Samoyède aux confins du Nord de l'URSS. Slovo, Presses de l’INALCO, 2019, À l'Est de Pixar : le film d'animation russe et soviétique, To the East of Pixar : Russian and Soviet Animated Film, ⟨10.46298/slovo.2019.5231⟩. ⟨hal-02053223⟩



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