COURAGE

povezivanje zbirki

Perhaps the greatest irony of Andrei Siniavskii's career is that he wrote his most controversial book Strolls with Pushkin while he was imprisoned in Dubrovlag, a Soviet labor camp in the Mordovia region of Russia. In an interview with Catherine Nepomnyashchy in 1990, Siniavskii explained how he wrote the novel by sending excerpts in letters to his wife Mariya Rozanova, while also remaining under constant surveillance by the authorities. There was a restriction on the frequency of letters (only two per month), but the authorities were far less concerned with length. Siniavskii wrote twenty-page letters in tiny but very neat handwriting, making sure to avoid topics that were sure to grab the attention of the censors, chief among them criticism of the Soviet government and complaints about life in the camps. Siniavskii added an additional layer to avoid the detection of his novel, talking about Aleksandr Pushkin under the guise of sharing what looked to be random thoughts, but were already a thoroughly conceived book. His wife Mariya caught onto this method and separated out all these passages from his letters and collected them in one place. Once Siniavskii was released in 1971, the novel was finished.  

Lucian Pintilie’s second film project De ce trag clopotele, Mitică? (Why are the bells ringing, Mitică?) was presented for the first closed screening before the censoring committee in June 1981. After the screening, the cultural authorities decided to stop financing its production. Consequently, Lucian Pintilie protested against this decision in meetings with the highest Party leaders and wrote a letter signed by him and the film crew to complain about the situation (Pintilie 2003, 320–328). The report chosen as a featured item of the collection records what happened after the first screening and details the circumstances and the reasons that led to the banning of the film. Probably due to Lucian Pintilie’s protest, a second screening was organised on 25 October 1981. The decision-makers gathered to make recommendations about the film and on the basis of these to grant their approval for it to be finished. The report underlines the fact that the audience had different opinions about the film. While the censoring committee and other cultural activists agreed that Pintilie should be allowed to complete his work, his fellow directors spoke about “inappropriate aspects” of the film. Despite these optimistic assessments, the management of the studio for which Lucian Pintilie produced the film handed him an official address on 4 November 1981. The document contained critical evaluations made by the censoring committee about his film, concerning his directorial perspective and elements that were not included in the original script. Moreover, he was required within an interval of ten days to remove eighteen sequences that were outlined as inappropriate (lines with double meanings, ribaldry, sexual acts, etc.). After the implementation of these changes the film would undergo another closed screening in order to get approval. The report records the reactions of the Romanian director regarding the censorship of his movie. He declared bluntly that he would not make any of the suggested changes. and threatened the management of the film studio and the cultural authorities that he would protest publicly about the unfair treatment and censorship of his work. His intransigent position and threats of public protest influenced the Romanian authorities’ decision to give Pintilie’s film a new chance in 1982. As he again refused to implement the changes requested by the censorship, the official premiere and public screening of De ce trag clopotele, Mitică? did not occur until after the fall of the communist regime (ANCAS, Informative Fonds, file 235, f. 12 f-v).

Fotografija prikazuje koncert prve postave grupe Azra u listopadu 1978. godine u Gospiću. Koncert je bio u sklopu prve turneje grupe Azra u organizaciji Poleta. Prvu postavu su činili Branimir Johnny Štulić, Jura Stublić, Marino Pelajić, Branko Hromatko i Mladen Max Juričić. Već 1979. godine Jura Stublić, Marino Pelajić i Mladen Max Juričić napuštaju Azru i osnivaju grupu Film. Uz Azru, koju je Johnny Štulić ubrzo ponovno okupio, grupa Film postala je jedna od predvodnica ne samo zagrebačke, već i jugoslavenske novovalne scene.

Poslije radničkoga štrajka u Gdanjsku u kolovozu i rujnu 1980. te osnutka sindikata Solidarnosti, što je značilo početak pada komunizma u Poljskoj, Štulić je napisao pjesmu Poljska u mom srcu. U njoj daje izričitu potporu događajima u Poljskoj, a sebe spominje uz papu Wojtylu, tj. Ivana Pavla II. Među omladinom u Jugoslaviji ova se pjesma doživljavala kao poziv na slobodu od komunizma i kulturno neslaganje s roditeljima koji su bili u Partiji.

Nakon jednoga koncertnog i osam studijskih albuma, Azra je prestala s radom 1990. godine. Grupa Film je nakon nekoliko izmjena u originalnoj postavi nastavila s glazbenim radom tako da i danas nastupa pod nazivom Jura Stublić &Film.

Brigitte Reimann was unable to complete what is regarded as perhaps her most important work, the novel "Franziska Linkerhand“ which details the failure of a jaded, young female architect to embrace socialism. She worked on the novel from 1963 until her death 10 years later in 1973. In 1974 the fragments were published by the Berlin-based New Life publishing house and translated quickly into multiple Eastern European languages. Additionally, the work was licensed for publication in West Germany and adapted for the stage and television. The final page of the original manuscript remained unreleased until the unabridged new edition was published in 1998.

[Transcription of the scanned masterpiece]
He was only as fair as a man could be

(…) Consideration (…) his judgement. They bound the two drafts on the table – Kowalski and his humpbacked little pal had submitted a collective work -, and Schafheutlin insisted (…) his estimation, that they, although somewhat hampered, since the voice of the boss remained unwavering, revealed no inkling as to whether he approved or rejected the work.

Fr. had lost the duel, before she even entered the competition.

Group and community photographs feature heavily amongst the corpus of confiscated images in the secret police archives. Such images were often taken at pilgrimages, religious festivals and special gatherings and were a means for the community to materialise communal memory and present their values and beliefs in distinctive visual form. For the secret police they were an invaluable source of information and a convenient means of tracing networks and personal relationships in the religious underground. The photographs in the archives, therefore, represent an important resource for understanding how religious groups chose to represent themselves and how the totalitarian system used images of religious groups in order to identify, trace and incriminate their members. Photographs such as ones confiscated from pastor József Németh in 1972 form an important part of the Hidden Galleries Digital Archive, not only because of what this rich corpus of images can tell us about religious practices and spaces in the underground during communism but also because in many cases these photographs remain hidden from the communities that produced them. One of the principal aims of the Hidden Galleries Archive is to re-connect communities with lost aspects of their cultural and sacred patrimony. The photographs featured in this entry were later shown to the community from whom we came to know that the hidden house church was no longer used following the house raid in 1972 and due to ongoing surveillance the community was forced to dissolve. József Németh only succeeded in planting a new community ten years later in 1982. The new community began to gather again in the same house church. We also learned that the young girl featured in the picture of a baptism is the daughter of the pastor, who was 12 years old at that time, and that the baptism took place in the garden of the hidden church in a specially constructed font.

http://hiddengalleries.eu/digitalarchive/s/en/item/15