Film’s role in preserving the cultural diversity of Europe
in Kumu auditorium
Why is film the genre that provides impetus for organizing such a conference?
On one hand, film is part of identity, and exposure to many films means exposure to many identities. At the same time, film can represent many identities at once – the familiar and strange, social and ethnic, current and historical events, social and cultural, and so on.
Each film creates its identity on a different footing. Through cinematic art we come into contact with the artistic models for identity, in which identity is a complex thing, starting with the identity of the film-makers and culminating with the identities of the worlds depicted in the film.
Understanding the world and films takes place through culture: represented culture, representational culture and recipient culture.
Diversity begins with the heterogeneity of the film idiom and ends with the heterogeneity of the world, but that heterogeneity has a unity that is revealed through an understanding of the artistic world. Understanding the artistic world requires understanding of the time and space – the chronotope – of that world.
Mikhail Bakhtin: Every entry into the sphere of meanings (art) is accomplished only through the gates of the chronotope.
Why these and not other films?
In 2006, it seemed that these were the films that best characterized, by each country, the tendencies and trends prevalent in the cultural space of the European Communities. Most of these films have been recognized in their home country as well as winning acclaim at various festivals. Why? The conference about to begin – which hopefully will not be a one-off event but become a continuing project – might provide at least a partial answer. Cultural tradition.
Why precisely these ideas?
Peeter Torop, University of Tartu professor of semiotics, Ph.D, is the coordinator of “CultureGate”.