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Session Submission Type: Panel
The panel investigates negotiations of center-periphery relations and various forms and degrees of anti-colonial resistance in the South Caucasus from the Russian Imperial rule to the Soviet period. Céleste Pagniello examines the shifting role of the Tiflis Imperial Theater within the broader framework of Russian colonialism, highlighting how Georgian artists repurposed an imperial institution to assert their own national identity. Elena Monastireva-Ansdell analyzes Otar Ioseliani’s critique of industrialized Soviet winemaking in Falling Leaves (1966) with a view of recovering indigenous models of modernity represented by Georgia’s distinctive traditional winemaking practices and pre-revolutionary Georgian intelligentsia’s dedication to honoring and fostering them. Jason Cieply scrutinizes Frunze Dovlotyan’s Armenian new-wave classic Hello, It’s Me (1966) for less clearly articulated anti-colonial sentiments showing how the film gives voice to an ambivalent experience of modernities, Soviet and western, while deflating any nostalgia for a lost national past or nationally-defined ambitions for the future.
Opera as a Site of Colonial Resistance: The Tiflis Imperial Theater in the Russian Empire - Céleste Pagniello, Princeton U
Decolonizing Georgian Winemaking in Otar Ioseliani’s 'Falling Leaves' (1966) - Elena Monastireva-Ansdell, Colby College
'I Know These Places Well': Epistemological Malaise and Soviet Modernity in Frunze Dovlatyan’s 'Hello, It’s Me' - Jason Andrew Cieply, Hamilton College