One
Participated in the European Language Department doctoral project, the thesis is based on the Albanian translation and production of the 1970s. When I was a child, A movie was a big thing, the lines of the fragments, the fragmented pictures, the scattered bridges, still occasionally flashed memories, but could not say a straight truth. It is gratifying that someone specializes in the study of nature. In the past few years, as soon as I met the old translator and producer, I bought a disc and came back to see it, which was inevitable and nostalgic. After watching, the interest is so great that it is lost. By today's standards, Albanian films are of low quality, naïve and crude, and indiscriminate preaching. But what else is there in mind, fragments of childhood memories? The afterglow of an old dream?
Movie "Footprints"
I remember that in the 70s, the compound let go of an opal, the name was forgotten, not translated, and it may be "internal reference", especially looking forward to it. It seems to be an open-air screening, and the atmosphere of "internal reference" is mysterious, like a child who hides from parents and does something out of the ordinary. Before the screening, a special invitation "simultaneous interpretation" was also launched. At the beginning of the movie, several heavily armed people knock on the door of a house: Is someone at your house? The hostess seemed to say no, but her eyes signaled that the person was inside. This is all guessed, the adults around the green tendons burst out, holding their breath and waiting for the translation, the translator did not say a whole sentence. The uninvited guest said something again, and the host's aunt said: "Inside the house", a southern dialect immediately translated out: please come in. What follows is vague. In total 20 minutes or half an hour, the translator jumped out of one or two irrelevant words, and the audience fell into the fog. But as soon as the "house" appeared, he said conclusively: Please come in. The children found the pattern, and when they heard the "house", they shouted: Please come in! The translator simply did not say a word. After the performance, no one understood it, but unanimously evaluated it as a good thriller, and asked to replay it and change the translation.
Soon replayed in the auditorium, the translator is still this benevolent brother, where is it easy to find Arabic talents? Apparently, he did his homework and first told the synopsis of the story, which I don't remember when I was young. After the show, he is still vague and not much better than the last time. Now that I think about it, the translator has no chance to watch the film again, and the film source, projection equipment, and venue are not allowed, and it is estimated that the plot of the hearing is estimated. When the children heard the "house noise" and coaxed the scene, they did not understand what the movie was about to this day. The boy "playing war" but added a gimmick, chasing and killing the bad guys is the code is "house", so it is still not forgotten. Opioid has a broken impression of this, and occasionally an inexplicable melody lingers in his ears, thinking that it may be an episode. During the Cultural Revolution, Chinese eight model plays upside down to see for ten years, so hungry, opium is counted as a heavenly kitchen fairy offering, which can be more blockbuster than the United States. In reply, two old Albanian experts recalled that Albanian films filled the film shortage at the beginning of the Cultural Revolution, alleviated the aesthetic hunger of Chinese, and partly explained the reasons for the sensation in China. Western film historians commented that the films of the Hoxha era were all political propaganda and had no artistic value. Did Albania only add film sources to us? Isn't there any aftersound outside of the propaganda?
Two
To be fair, Chinese audiences are obsessed with opioids, not entirely because they don't have movies to watch. At the turn of the 1960s and 1970s, in addition to the model plays, there were also "three wars and one team" - "Tunnel Warfare", "Mine Warfare", "Southern Expedition and Northern War" and "Plain Guerrilla", and then there were three imported films from socialist countries. North Korea's "Flower Girl" and "The Village with Flowers Bloom" are crying and crying, and boys like to "fight wars" and do not watch bitter dramas. Vietnamese movies pour plane cannons, but even the story is not round, it is better to watch the backwards of the "three battles and one team". The level of A film is also limited, but it is not on a grade than these films. Dr. Chen Fenghua, a major in Arabic, began to sort out the opium imported from China in the 60s and 70s: "Rather Die Unyielding" (1967), "Coastal Wind and Thunder" (1968), "Underground Guerrilla" (1969), "The Eighth is a Bronze Statue" (1973), "The Broad Horizon" (1968), "Footprints" (1971), "In ordinary posts" (1974), "Brave People" (1971), "Morning of Battle" (1972) and so on. I sketched a genealogy in my head, went home to download it, and found that in terms of narrative, imagery, political tone, themes, and performances, opioids echoed each other and became a school of their own.
For example, in the most popular "Underground Guerrilla" of that year, Lieutenant Pietro, a communist, broke into the Italian army and was gradually suspected by fascists. For the test, the italian leader ordered him to execute a female guerrilla. During the long drive to the suburban court, the camera quickly switches close-ups of faces, and the eyes convey the inner entanglement: you can't kill your comrades with your own hands, and you can reveal your identity without shooting. The appearance does not show a hint of uneasiness. The sedan drove to the countryside, and the pistol was handed to Pietro. The camera advances, with a close-up of a village at gunpoint aimed at the guerrillas. The audience's heart lifted to the throat, and the lieutenant suddenly turned and turned the muzzle of his gun toward the enemy, only to be dumbfounded and unloaded. Identity is exposed, and righteousness is preserved. Between the breaths of life and death, the guerrilla gods descended from heaven and ended in a reunion. The rhythm and sound of the shots complement each other perfectly, and the Hollywood-style "last minute rescue" is enough to satisfy the appetite. At that time, the movies were all one-sided, the plot was indiscriminately dogmatic, Albania also engaged in some thriller suspense, the style was very Westernized, surprisingly happy.
Underground Guerrilla
Importing films from the three socialist countries is by no means an entertainment consideration, but a close friend. The friendship between China and North Korea is inseparable from China's assistance in the Vietnam War, and China and Argentina are god-soul bonds, and both countries are competing with the two hegemons of the United States and the Soviet Union. At the 20th Congress of the CPSU in 1956, Khrushchev "secretly reported" the liquidation of Stalin. The Afghan leader Enver Hoxha denounced Khrushchev as a charlatan, saying that de-Stalinization was a usurpation of the Bolshevik regime and the abduction of the Soviet people with freedom and democracy as bait. In 1959, China also abandoned its "one-sided" diplomacy and began to expose and criticize Soviet revisionism. In June 1960, a meeting of the Communist and Workers' Parties of the Socialist Countries was held in Bucharest, and Sino-Arab relations took a dramatic turn. Before the meeting, the deputies of the CPSU distributed the "Circular to the CPC" and labeled the CPC with big hats such as "dogmatism" and "sectarianism." Favoring India, Mao said that Mao was left-leaning and aggressive in the Sino-Indian conflict. Khrushchev was vocal, describing the CCP as a "madman," "going to war," and "pure nationalism." [1] Eastern European countries chimed in, and for a time it became a complaint conference. North Korea and Vietnam remain silent, and the CCP is isolated. The head of the Delegation of the Afghan Labour Party, Hysni Kapo, came out to refute it, demanding that malicious slander be stopped. He stomped his fists and feet, and asked sarcastically: "Comrade Kabo, none of us can communicate ideas with the CCP, can we send you to negotiate with Chinese?" Kabo was not in a hurry: "I will not obey the order, I only accept the leadership of the Afghan Labor Party." [2] (According to Wu Xiuquan's recollection, Kappo only half of the vote supported China)
Zhou Enlai and Hoxha
After the Bucharest Conference, Mao Zedong sent Deng Xiaoping to Moscow to attend the "Meeting of the Drafting Committee of the Congress of Representatives of the Communist and Workers' Parties of the World." At the reception banquet, Khrushchev complained that Hoxha had made personal attacks, and the Afghan Labor Party was sorry for the CPSU, which caused the socialist countries to be disunited, and asked the CCP to express its position. Deng replied: "The Party of Labor of Albania is a small party, and if it can uphold its independence and autonomy, you should better respect others and should not exert pressure." [3] China and Argentina were besieged again, and the two parties came closer together to jointly counter Soviet chauvinism and oppose the compromise policy of "peaceful coexistence, peaceful transition, and peaceful competition" between Khrushchev and NATO. The Soviet Union retaliated, breaking diplomatic relations with Afghanistan in 1961, stopping aid and withdrawing experts. Ah Sui became a feud with the fraternal parties and withdrew from the Warsaw Pact in 1968 and became a rebel with China. A small country with two sides to attack the US and Soviet camps, the real chivalry is like a cloud, and it is also lonely. If it were not for China's gritted teeth and help, I am afraid it would not be able to continue. Its stubbornness has historical roots, ancient Albania was successively occupied by Rome, Byzantium, Serbia, Venice and Ottomans, the modern great uprising side gained a moment of independence, and the "First World War" fell into the hands of austria-Hungary, Italy and France. After the war, it became independent again in 1920, and "World War II" was again annexed by Italy. Until Mussolini fell, Germany came to fill the gap, and the resistance movement was repeatedly and bloodily suppressed. Therefore, national independence is the eternal theme of literature and art in the socialist period, indomitable has become a style, and the movie "Rather Die Unyielding" best interprets the national style of Albania.
Hoxha and Wang Yufeng
Three
At the time of the defense, the Albanian scholar Shaban Sinani came and went to the café after a break. The topic returns to the honeymoon in China and Algeria, the melody of the old song "Confidant in the Sea, If the End of the World is Nearby" is still in the ear, and "Beijing - Tirana" and the like. Professor Sinani said that they also had songs praising Chairman Mao, singing that "whoever dares to touch a hair of his old man's home, the Albanian people will not agree!" It was a surprise. But then I read a 1969 film review, "Ode to the Communist Fighters: An Albanian Feature Film "The Vast Horizon"," written by Zhang Yunfeng and Dai Longlin, workers at the Beijing First Machine Tool Factory and Xinhua Printing Factory. The ending reads: "If the US imperialists, the Soviet revisionists and their lackeys dare to move a single hair of Albania, they will only suffer a complete, shameful, and irreparable defeat!" [4] In fact, this slogan came from the Supreme Directive, when Afghanistan withdrew from the Warsaw Pact, Soviet warships had swam in the Mediterranean to demonstrate, and Mao Zedong called the Afghan leader to warn the Soviet Union. [5] China is non-aligned, but the telegram hints at a military alliance. During the Cultural Revolution, workers' creation became a common practice, and in addition to construction, workers engaged in "superstructure" in workshops and on the ground. Flipping through the old magazines of the 1970s, workers' criticism of Confucianism, literary and art criticism, and novel essays are full of sweat. A thesis on the collective study of Qin history by the workers of the foundry workshop examines the contradiction between productive forces and production relations from the materialist view of history, which eventually led to the demise of the Qin Dynasty.
While the workers came to the foreground of the historical drama and introduced the October Revolution first, Arendt looked to the French Revolution for its roots. She mentions a detail in On the Revolution: on the night of 14 July 1789, the Duke of La Rochefoucco reported to Louis XVI that the Bastille had fallen. His Holiness asked: Riots? The Duke replied: No, there is a revolution. What did the Duke see and insist on revolution? Countless low-level citizens struggling on the lifeline have poured into the streets of Paris, and people who have endured shame and silence for centuries have stepped onto the political stage prepared for the elegant elite. [6] The revolution was short-lived and ended with Napoleon as emperor, but the spirit was passed on in a series of revolutions of 1830, 1832, 1848, 1851, and 1871. Throughout the history of the world, there is no shortage of precedents for those who went from slaves to generals, later known as lonely people and generals. But the working class, which still operates its old profession without adding officials to the knighthood, dominates the political turmoil and can be said to have never been seen before, and there has been no one who has come after. The Russian Revolution ushered in a new era in which it claimed popular sovereignty but was governed by a few, and the government was neither elected nor representative. The Bolsheviks did not subscribe to The Locke-style representative system, the bourgeois parliament represented "interests" and did not express the "will" of the people, politics remained unopen to the people, and the masses continued to hide in the obscurity of silence. Where, then, does the legitimacy of the revolutionary regime come from? How can the people express their will? Lenin's plan was that proletarian power did not derive from the "unanimity of the general will", and that the will of the majority of the people, combined, did not necessarily reflect the will of the class as a whole. The proletarian will is summoned by Marxist doctrine, which transcends the principle of majority determination and transforms individual opinions from the top down into class will and overrides other classes. How can regimes be prevented from deviating from the class will? That is, to purify the party spirit and the ethics of the revolutionaries, to selflessly dedicate themselves to the cause of liberation of the oppressed people; not to rely on the checks and balances of power and institutional arrangements, but to expect uninterrupted ideological revolution, to purify the soul to become the embodiment of the will of the proletariat. The party's power cannot be divided, its ideology cannot be compromised, and its leadership must be unified.
The Age of Fire
After Hoxha thought that after the party gained power, the Soviet Union and Eastern Countries degenerated and changed, and gradually deviated from Marxism-Leninism. Therefore, it is necessary to launch a revolution in the ideological and ideological fields and to fight with disdain against revisionism. The premise is not to destroy the dictatorship itself, and Proudhon's "permanent revolution" is not to make multiple revolutions, but to carry out a continuous revolution. [7] From 1966 to 1969, Hoxha launched the Albanian Cultural Revolution, named the "Cultural and Ideological Revolution". The abolition of military ranks and the appointment of political instructors to the ranks of the armed forces, the anti-"white road" in the construction and cultural fields, the cadres and intellectuals going to the mountains and the countryside to receive re-education, the expository and criticism of the bourgeois literary and artistic line, the abolition of ministries and commissions, the widening of the wage gap between cadres and the masses, the smashing of the public procuratorial law, the banning of religious beliefs, and the emancipation of women are the same as our "Cultural Revolution." Although China and Arab countries are inseparable, although they have different views on whether the system of exploitation has been eliminated, they unanimously believe that a great revolution on the ideological and cultural front is imperative. Hoxha personally examines every feature film, the vanguard of the cultural revolution, and "Broad Horizon" embodies the idea of continuing the revolution under the dictatorship of the proletariat. The film features Ullaen, a floating crane driver in the harbor, who is a hero who defends national property and selflessly dedicates himself to industrial construction. Fight bad weather and bureaucracy relentlessly. Workers are positive energy, the driving force of the plot, and bureaucratic cadres are the counter-motivation. When the two sides were at a standstill, Ullarn sat down to study Marxism-Leninism. The camera closes up the title page of the book, and the spotlight focuses on the words. Power is corrupt in peacetime, and only the vanguard of workers armed with Marxist-Leninist ideology can cleanse the mud and muddy waters of the bourgeoisie and ensure the purity of the regime.
Four
Compared with war films, there are few industrial themes, but they are highly typed and form an intertextuality with the socialist camp. At the beginning of the Cultural Revolution, Chinese feature films were discontinued for a time, but they did not resume until 1973, and a number of industrial films were released intensively. For example, in 1974, "The Fiery Red Age" and "Warship Platform", changying's "Entrepreneurship" and "Iron Giant", etc., for the Chinese audience who want to wear it, such as the long drought and rain. Romania has "Boiling Life" (1975), no matter the plot, narrative, scene scheduling, character shaping, these films obviously borrow from each other, influence each other, forming a socialist industrial type. The protagonist of "The Fiery Red Age" is also a worker, named Zhao Sihai, who is bent on refining "fighting for gas steel" (special steel for building warships). "Entrepreneurship" is oil worker Zhou Tingshan, who has to drill his first oil well and "hold a big golden doll". Suspense design is also in technical difficulties, and the conflict is also between workers and bureaucrats. The workers want the soil law to be put into action, and there are no conditions to create conditions for production. The director of the business plant is stagnant, and bureaucracy has plunged the technical attack into the mud. The "big old man" held Chairman Mao's works in his hands, reading them word by word, and the lens also focused on the title page of the Red Treasure Book. "The Age of Fire" is ingenious, the latest instructions are issued by loudspeakers, and the working class is multiplied, reloaded, and fighting against the bourgeois legal power. Anti-repair and defense repairs run through the main line of our Cultural Revolution literature and art.
Chinese industrial films also have their own characteristics, the characters are more facial, the plot is more dogmatic, the roles are assigned according to labels: the business director, the chief engineer must be bureaucratic, the director of the "Fiery Red Age" is surnamed Bai (Yu "Bai Zhuan"), only pulls the car without asking for directions, chews on books, sticks to experience, and superstitious imports. The secretary and political commissar were far-sighted, and the screenwriters first did not let them appear and went to Beijing for a meeting. When the workers and the factory director tore each other very ugly, they suddenly returned to the factory to turn the tide and show the wise leadership of the party. At the end, there will be hidden enemies jumping out, destroying production and causing disaster. In "The Fiery Years", the counter-revolutionary is called Ying Jiapei (harmonic "Yin double"), "Entrepreneurship" is Feng Chao, history plus the current counter-revolution, jumping beam clown, taking advantage of the political confusion of the factory director, doing ulterior motives, things rot first and then worms and beetles. When the secretary reversed the situation, the enemy had to jump out on his own, and was caught by the workers, and the whole film reached its climax. In the face of the bitter lessons, the factory directors and experts were beaten to the head and repented, but they were still the capitalists who could be transformed, and the object of unity belonged to the contradictions among the people. The presence of the enemy makes the interior more united, and external threats can dispel personal dissent and unify thinking with the general line of the Party. Dividing the enemy and us and taking the class struggle as the program obliterates the richness and realism of art, and the secretaries and political commissars who are incarnated by truth seem to be "tall and complete", but they are actually "false and empty". The film's adaptation of the film reflects the general disillusionment and perfunctory nature of the late Cultural Revolution, with dogma prevailing, production stagnating, and people's minds changing.
Albanian movies are not so dull, the characters still have seven passions and six desires, and marriage, hobbies, and temperaments are also reasonable. Design conflicts are as specific as possible, do not go online, solve contradictions in detail, show the complexity of technology, and do not reduce them. Romania's "Boiling Life" (1975) with a bit of artistic style, although the theme, plot, characters are also similar, but the value orientation is different, the protagonist is the director of the business factory, the political work cadres are anti-angle, good and bad, very "revisionist". In the camp, it is counted as a "luxurious" industrial film, highlighting individual heroism, and ending with "petty-bourgeois emotional pulse". This kind of film did not meet with Chinese audiences until the smashing of the "Gang of Four" in late 1977, becoming a precursor to reform and opening up.
Five
Albania in World War II
In Albania, intellectuals are also the object of transformation, but the film's portrayal of "white specialist" characters is remarkable. Dr. Aldan, the protagonist of "Footprints" (1970), is highly skilled and arrogant, and gradually breaks away from the masses and becomes selfish. He did not lose his conscience, lost his way, and finally took the initiative to go up the mountain to receive re-education from the lumberjacks. This indiscriminate set of "fighting for private criticism" wants to attract the audience and convince people, and it must be unique. Screenwriter P. Dadao sets a spy movie type for the story, and the body of Aldan is found on the border line at the beginning, which is related to the smuggling case of secret agents. The police filed a case, investigated people from Aldan's side, and searched for colleagues, leaders, mentors, students, family members, patients and administrative staff, and the results were mixed. Teachers and students commented that he was talented and rare. Colleagues feel that he is responsible for his work, but he is arrogant and arrogant, and sells his name. Leaders criticized him for being shy and calculating. Patients praised him for his medical skills and saving lives. The administrators were occasionally on the line to expose his corruption. The fathers and elders of his hometown believed that he was born of hardship and the true colors of the working people. A plump, three-dimensional figure is about to emerge. Multi-perspective, multi-level perspective of different stages of a middle-aged intellectual's life outlines the mental process of growth: from humble to glorious, from complacency and arrogance, and finally self-examination and repentance.
Khrushchev was at the 20th Congress of the CPSU
However, the lengthy dialogue and nagging arguments throughout the film still seem to be "stuffy" today. You take advantage of the audience's horror-loving psychology to put people into the theater, and what you actually see is still a "thought seminar". Director Kristaq Dhamo also understands that large sections of dialogue are not the way of the film, so he has to frequently change the camera, camera position, and scenery to try to make the picture appear richer. Constant flashbacks and jump cuts make the narrative more complicated. Scene scheduling is more painstaking, and some random activities are filmed in the back scene to enliven the dullness of the middle scene. The film is filled with preachy air, but when you look into it, it will occasionally be stinged. In the post-revolutionary era, it is self-evident that we have the ability to travel all over the world, enjoy the glory of a skill, and seek benefits and avoid harms in the way of holding ourselves. But the peculiarity of man is precisely that it is not only to satisfy one's own desires. The long-lost Grand Duke is selfless, selfless, self-serving, serving the workers, peasants, and soldiers, and so on, and once he touches the hidden feelings, he realizes his desire to be needed by others. Intellectuals go to the mountains and go to the countryside, asking to enter the role to experience the people's feelings and sufferings, and let the hardships of others become their own experience. This is transformation, opening up compassion to feel the misfortunes of others, suffering and sacrificing the selfless proletarian character, and then throwing oneself into the cause of liberating the oppressed people. Aldan's path up the mountain resembles a quasi-religious "heavenly journey" and cultivates pure revolutionary virtues.
Kadalay
However, the word "private" is flashed, the word "public" is also difficult to discern, and the motive is always hidden in the obscurity of the soul. The theory of the heart is no different from the water moon mirror flower, even if you introspect yourself, you may not be able to understand it. At the end of the film, the audience does not know Fordan's true motives, and if it were not for the police who unveiled the mystery - he gave his life to stop the agent, who can guarantee that he did not defect with the agent? To discuss the revolution with morality, we must be open and honest, but the subtlety of the heart cannot be confessed, the fight for private criticism and cultivation forces people to be vain, and the extreme and paranoid words and deeds to cover up the ambiguity in the heart; with the hypocrisy of oneself, it is necessary to deduce that others are inconsistent in appearance, and the hearts of the people are separated from the belly, and the ulterior motives are ignorant. Suspicion and suspicion, agitation and correction, the result is that everyone lurks around Khrushchev, the witch hunting movement expands indefinitely, a dog barks, a hundred dogs bark, interpersonal corruption, ideological struggle becomes political persecution, devouring everything, including their own children.
The legal system investigates the behavior, and the human rule tortures the soul. The motives are devious, making everyone fearful, and once the fear captures the soul, the creation hopes to protect itself. During the Cultural Revolution, most of the domestic films gave footnotes to the supreme instructions, and arranged the content with policies and edicts, so that there were rigid symbols such as workers, professional cadres, branch secretaries, and class enemies. The movement, choreography, performance and scene scheduling are staged, the plot is "three prominent", the theme is the same, and the shoddy is shoddy. By the end of the Cultural Revolution, the revolution was at the end of its strength, and propaganda seemed to be high-profile, but it was actually pitched by others. Art and grass decay together, and there is no trace left in the history of cinema. To speculate on the revolution is to "raise the red flag against the red flag." Opioids are also a product of the Cultural Revolution, and the political trials are just as harsh but still sincere, asking questions about the metamorphosis of the regime, the role of workers, and the cycle of power and corruption. Hoxha had a theoretical pursuit, and he did not believe in the abolition of the system of exploitation, so he liberated the people once and for all. Were not the achievements of the Soviets corrupted by bureaucracy, philistine politics and empty slogans? The loss of party spirit and the lack of the socialist camp are not problems with Marxism-Leninism and Stalinism, but the wanton distortion and sabotage of careerists and conspirators. [8] Under the guise of democratic centralism, the Party is condescending and always correct, divorced from reality and has lost its revolutionary vitality. [9] The root cause of revisionism lies in the Party, where Party members pursue comfort, privilege and self-interest, and the tendency to become inflamed and subordinate to the trend corrupts the Party's spirit of struggle and sacrifice from within. Therefore, he believes that under the dictatorship of the proletariat, it is necessary to continue the revolution, strengthen the unified leadership, and eliminate the sense of exploitation and the lack of organization with the cultural revolution. He pinned his hopes for the salvation of the revolution on "soul redemption."
Hoxha in wartime
In calling for revolution, poverty is blamed on exploitation in order to mobilize the masses. But the abolition of the system of exploitation, which only flattens the inequality of wealth, cannot alleviate material deprivation, and economic prosperity depends on production and accumulation. Within the socialist system, Hoxha encircled and suppressed all forms of exploitation in order to eliminate poverty and talk about revolution rather than production, resulting in the withering of the national economy and the dependence of foreign aid on life. Chinese was also very poor, still tightening their trouser belts, lending selfless help, and a large number of grain, loans, foreign exchange, complete sets of projects, technical experts, various types of training and military equipment were continuously imported into the country of mountain eagles. Out of like-mindedness, different from the geopolitical interests of North Korea and Vietnam. As the Sino-Arab joint statement said: "The two parties and the two governments are completely consistent on all issues, both in thought and action. [10] Hoxha's admiration for China's Great Leap Forward and cultural revolution was not radical enough, and the Eastern Camp was unsurpassed. But he also does not eat people's short mouths, and often blames people with ruthless arguments. When China proposed the division of the three worlds, Hoxha accused of engaging in neo-revisionism, not dividing the world between oppressed and oppressed classes, but confusing class contradictions with the level of development, advocating class reconciliation and paving the way for Sino-US détente. He criticized China for reducing the main contradictions of the world to one: that is, uniting the third and second worlds with half of the first world, us imperialism, to jointly deal with the Soviet Revisionists, which was to cover up class contradictions and underestimate the aggressiveness of the United States; to gather NATO, Iran, Spain, and even Chilean fascism to encircle the Soviet Union, to betray the revisionist characteristics of the revolution and betray Marxism-Leninism, that is, practical philosophy. [11] Although he hated the Soviet Union, principle was still principle, contrary to China's pragmatism and flexibility. With the normalization of Sino-US and Sino-Japanese relations and the openness of Sino-Arab contradictions, the relations between the two countries have finally changed from glue paint to ice charcoal.
Six
The coffee machine that carved the time is noisy and restless, and the aroma of smoking is seductive. Professor Sinani sighed Chinese still do not forget the Ah movie, a small country of less than three million people, and a giant of 800 million people. In fact, if you look through the newspapers, periodicals, documents and publications of the Cultural Revolution, Albania is an "elephant in the living room", and the frequency of exposure is so high that it has the potential to dominate, but it is not mentioned now. An Arabic-speaking senior said that Chinese films have also caused a sensation in Albania, and "Visitors on the Iceberg" was once a talk of the trade in Tirana. But he doesn't remember watching Chinese movies in the 60s and 70s, but he remembers documentaries built with Chinese aid. Movies used to be the whole of Arab cultural life, and there were 450 theaters in the small country of Bullet, which were visited by 20 million people every year, and an average of 10 movies per person a year. At that time, there was only one studio, the New Albanian Film Studio, which was full of power and produced more than a dozen feature films a year. From Tana (directed by K. Damo), the first local feature film in 1958 to 1995, the factory produced 270 feature films, 700 documentaries and 150 animation films, of which about 30 were imported from China.
When the socialist camp collapsed in 1991, Hoxha-era films were seen as propaganda, desecrations of art, and no one cared about it, eager to forget the traumatic past. The "New Afghani" factory was dissolved and divided into four parts: the Albanian Film Studio (Albafilm), the Albanian Film Distribution Company, the Animation Film Factory and the Film Archive. The film industry is in decline, and the number of employees is lost and changed. In 1996, only one or two local feature films were produced, and the main business shifted to television films and program production. There is only one cinema left in Tirana, and American films are flooded with theaters and TV shows. Most of the American films broadcast by television stations are copyrightless, and the population is too small for Hollywood to spend money and energy supervising intellectual property rights. I remember that ten years ago, many pirated DVDs on the streets of Beijing were subtitled in Albanian, and in this way they once again delivered movies to Chinese audiences.
Outstanding filmmakers of the socialist period, generally trained in the Soviet Union, East Germany and the Czech Republic, now go to Western Europe to work, with technical expertise for foreign films. Occasionally returning to China, but also repeating the mainstream themes of Europe, such as immigrants, homosexuals and other subcultural content, Albanian national films have never returned. In recent years, people have reminisced about the years like water, A TV replayed classic old films, scholars and artists have also realized the value of socialist films, revisited the golden age of films in the 60s and 70s, and paid attention to the restoration of old films. At that time, the material and technical conditions of the "New A Factory" were extremely simple, and the photography, lighting, recording, audio equipment and editing equipment were very backward, and the processing of color film had to go to China. The already poor images and sound effects were restored decades later, and the effect was not ideal. Admire the dedication of the "new A" filmmakers, who can be simple because of ugliness, change their skills, excavate characters, and interpret ideologies with unique charm. But now that the conditions are better, the national style is gone.
A is located in Europe, but it is very unfamiliar to Westerners. The long reign of the Ottoman Empire painted it with a Turkic background. Endless conflicts with Serbia, Montenegro, and Italy, resulting in ultra-nationalist characters and mountain isolation, will always be a distant country, completely forgotten after the "Cold War". In the American cop film Inside Man (2006), new York police surrounded the bank robbers, and the eavesdroppers listened to the bandits speaking a language that no one understood, so they had to go on TV to ask for deciphering, which turned out to be Albanian. A European language used as a cipher in international cities where more than 70% of foreign immigrants are used, which is incredible. In contrast, Chinese foreign language colleges and universities have Arabic language majors, which are a special gift of special ages. Friends came from the United States for a long time, and small talk mentioned watching Arabic movies. He recommended the popular writer Ismail Kadare, known as the Kundera or Pastelnak of Albania, won the grand prizes of Jerusalem, Booker and other awards, and awarded french academicians, and translated more than 20 novels in the English world. Although some people say that he is a close friend of Hoxha and is suspected of rebellion, albania cannot be written without mentioning him. I searched the Internet, and there was a wealth of chinese and English materials, but a tone was nothing more than a trumpeter who protested against despotism or totalitarianism, and was not interested in the praise or denigration of former socialist writers familiar to him. Instead, I think the anecdote about Cadalle himself is a bit interesting: he has lived in France for 15 years, and his daughter meets a new friend who introduces herself from Albania. The French friend sighed: Is it the country ruled by the great dictator Carddalay? [12] Zhang Guan Li Dai is confusing, but he also tells the truth, and Kadale is more famous than Hoxha.
Forty years apart, the way of discourse cannot be docked with the past, and the perspective, value orientation, and conceptual system of looking at problems have become like a world away. Kadalai's creation spans two eras, and the work may not be completely different, but the reader's frame of reference has changed, and there is a fighter or a helper debate. Instead of reading Kadalai's pursuit of old dreams, it is better to admit that that experience has vanished. To pick up ready-made theories and label that era as "tyrant dictatorship" or "a peaceful world" is either to vent traumatic memories or to reminisce about the years when everyone was equal and blood-colored and romantic, and the left and right factions disputed and refuted, but did not delve into the meaning of "revolution" and sank into the fog of history. I asked Dr. Chen which word was "in the house", and she said it should be Urdhëro (there are several variations). The stars shifted and turned, and the remaining "please enter" was also a word that was not human.
exegesis:
[1] Liu Songbin, "The Bucharest Conference: An Important Turning Point in Sino-Soviet Relations," in Party History, No. 5, 1994. p. 18.
[2] Paul Saba and Sam Richards ed, Enver Hoxha and the Great Ideological Battle of the Albanian Communists Against Revisionism, in North Star Compass Vol.17 No.10-11 July-August 2009.
[3] Liu Jintian, "Sino-Soviet Controversy: Deng Xiaoping's Tongue War against Khrushchev", yanhuang chunqiu, no. 5, 1997.
[4] Zhang Yunfeng/Xie Jirui/Dai Longlin/Zhao Ying, "Ode to Communist Fighters: Albanian Feature Film "Broad Horizon"" After Viewing" / Cultural Revolution Decade Literature Library / Propagandist Network.
[5] Cheng Xiaohe, "The Role of Ideology in China's Alliance Diplomacy: An Analysis of the China-Albanian Alliance," In Diplomatic Review, No. 10, 2008. p. 49.
[6] Hannah Arendt, On Revolution (New York: Penguin Group Inc, 2006). P. 38.
[7] Ibid., P. 41.
[8] Enver Hoxha, The Khrushchevites, “8 Nentori” Publishing House, Tirana, 1980, English edition, pp. 59-60.
[9] Saba
[10] Cheng Xiaohe.
[11] Enver Hoxha, Imperialism and the Revolution, “8 Nentori” Publishing House, Tirana, 1979, English edition, p. 270, 278, 282, 291, 296, 305.
[12] Adam Kirch, Mystery of Man: Just Who is Ismail Kadare? in The Sun, New York, June 27, 2005.