{"id":5271,"date":"2023-05-01T15:30:16","date_gmt":"2023-05-01T12:30:16","guid":{"rendered":"https:\/\/pastfutureart.org\/?p=5271"},"modified":"2023-05-02T11:04:31","modified_gmt":"2023-05-02T08:04:31","slug":"direct-pointing-no-longer-works","status":"publish","type":"post","link":"https:\/\/pastfutureart.org\/en\/direct-pointing-no-longer-works\/","title":{"rendered":"\u00abJOJO RABBIT\u00bb:\u00a0
DIRECT FORMS OF EXPRESSION\u00a0
DON`T WORK ANY MORE"},"content":{"rendered":"\r\n
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\u00abJOJO RABBIT\u00bb: \r\nDIRECT FORMS OF EXPRESSION \r\nDON`T WORK ANY MORE<\/h1>\r\n <\/div>\r\n
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27.05.2020<\/p>\r\n <\/div>\r\n

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In the public discussion \u00abDo Hitlers Hunt Rabbits? Jojo Rabbit and its look to the past\u00bb<\/a> the curator of the Past \/ Future \/ Art project Oksana Dovgopolova and the Head of the Research Division of the Odessa Fine Arts Museum Kirill Lipatov ventured to suggest that Taika Waititi has found a new language of commemoration. Perhaps, “Jojo Rabbit” is now the best family film for talking about World War II. Read how the director managed to combine sincerity with irony and create a modern metamodernist expression.<\/strong><\/p>\n <\/div>\r\n <\/div>\r\n<\/section>\r\n\r\n\n\n\r\n

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Oksana Dovgopolova<\/h4>\r\n <\/div>\r\n
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curator of the Past \/ Future \/ Art project<\/p>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\r\n\r\n\n\n\r\n

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Oksana: <\/strong>The film “Jojo Rabbit” by the New Zealand director Taika Waititi, was released in 2019 and was screened in Ukraine in early 2020. The film’s genre is described by the director as an anti-hate satire. The film is based on the book by Christine Leunens “Caging Skies” and it is not a comic novel. The events take place during the last six months of World War II. The protagonist is the ten-year-old Johannes, who dreams of becoming a worthy representative of the Hitler Youth. Johannes’ imaginary friend is Hitler. This is Waititi’s creative contribution to “Caging Skies”. This does not occur in the book. The director, himself, played the imaginary friend. The film is full of intentional chronological asynchronicity, and of mixing of different points of the story.<\/p>\n

Certainly, “Jojo Rabbit” is not the first film in which we are invited to laugh at what can only cause absolute terror. We can trace the tradition of such approaches starting with Charlie Chaplin’s “Great Dictator” and Mel Brooks’”Springtime for Hitler”.<\/p>\n

Kirill, when we were preparing for this meeting, you called “Jojo Rabbit” the best family film to watch on the World War II memorial dates in 2020. Why is that?<\/p>\n <\/div>\r\n \r\n \r\n <\/div>\r\n <\/div>\r\n\r\n<\/section>\r\n\r\n\n\n\r\n

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Kirill Lipatov<\/h4>\r\n <\/div>\r\n
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Head of the Research Division of the Odesa Fine Arts Museum<\/p>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\r\n\r\n\n\n\r\n

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Kirill: I would like to clarify my thesis: this film is one of the few possible films to watch in 2020, moreover for different generations. I believe that the direct statement \u00abNazism is bad, and life is good\u00bb does not work any longer, therefore, discussing problems of public history and representation of traumatic experience, we, together with you and Lydia Starodubtseva, have tried to identify modern languages of commemoration (referring to a discussion<\/em> “Commemorative Practices in the Digital World”<\/a> and<\/em> “Digital as Public”<\/a> \u2014 note by Past \/ Future \/ Art)<\/em>. Two of our conversations dealt with attempts to go through this experience artificially, and today we’re going to try to talk about the new language of artistic expression.<\/p>\n <\/div>\r\n \r\n \r\n <\/div>\r\n <\/div>\r\n\r\n<\/section>\r\n\r\n\n\n\r\n

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