THE DIACHRONIC EVOLUTION OF SOCIAL LIFE THROUGH CINEMA
Workshop based on illustrations and analysis of Kinostudio "New Albania" movies

Directed by Ph.D. Julian BEJKO,
Dept. of Sociology, University of Tirana


October 24:
CONCERT IN THE YEAR ’36 (1978) by Saimir Kumbaro

- The concert as aestheticization of the voiceless. To camouflage the bad weeds, they must be root out and marginalized, getting outside the official canvas of permissible. The ugly and the blemish vanish in the internal camp of unpresentable unwell weeds.   


October 25:
THE HISTORIAN AND THE CHAMELEONS (1989) by Saimir Kumbaro

-  The ambiguity of the aestheticization of success. The creation of the façade and objects, of what is around and behind, but which is stumbled by the body, gestures, movement of the actor, is in other terms, a creation of a world.  

October 26:
GENERAL GRAMOPHONE (1978) by Viktor Gjika

-    What happens to the culture and para-modern people, placed in the violent intersection of capitalism and dictatorship? 

October 27:
THE EMPEROR’S BED (1973) by Endri Keko

-    The shepherd’s adventures in Wonderland. The royal courtyard is currently in the hands of the shepherd and must be redone and revised as a central power for a new State, to a new absolutism which is ready to born there and elsewhere.  

October 28:
THE COMMISSAR OF ENLIGHTENMENT (1966) by Dhimitër Anagnosti & Viktor Gjika

-    A common Christ. The year 1966 is not the arrival of devil on earth. It’s the birth of a new religion, of a teacher who broke the walls of his hut, this miserable place to give light and knowledge of a new generation.

October 29:
THE PATRIARCH (1972) by Fehmi Hoshafi & Muharrem Fejzo

-    Nevrosis and suicide. The old patriarch requires a restful substance, his pipe to smoke. After that, he puts his head to the washbasin just to diminish his psychic temperature. The ambulance car is after him to help the poor old man which is getting mad. The city is a neurotic accelerator, the foundation for psychic troubles, normative turbulence, and heterogeneity of social relationships, a circus and a spectacle of socialist progress.


October 30:
WHITE PATHS (1974) by Viktor Gjika

-    Surreal absurdity of work. It’s the simple man, the poor and the miserable, the one who is martyrized. The proclaimed welfare of the worker and peasant is isolated in the loneliness of a nonsense world. The workman communicates with the nature, the storm and snow, a Sisyphus which produces new human conditions.