This interview marks a new series on History at HEID – interviews with IHP Section Faculty, in order for students to get to know how their Professors came to be where they are today.
We begin our interview series with Isabelle Schulte-Tenckhoff, Professor of Anthropology in the Development Studies Unit, and Associate Faculty member in IHP. This academic year she is teaching three courses: “Anthropology and Development”, “Droit(s): les paradoxes de la reconnaissance”, and specifically in HPI, “Hybrid Histories: Indigenous Peoples and Nation-Building in North America”.
Jaci Eisenberg: What are your main areas of research, as an academic?
Isabelle Schulte-Tenckhoff: Naturally, most of my research deals with anthropological issues, some classical, some less so. My main interest is indigenous peoples, especially in North America, and my research in this field focuses on legal anthropology and indigenous rights. I am also interested in multiculturalism, as well as the complex – and difficult – relationship between culture and rights.
Jaci Eisenberg: What are your specific areas of teaching?
Isabelle Schulte-Tenckhoff: In the Development Studies unit I teach a compulsory course entitled “Anthropology and Development”. Teaching anthropology in an interdisciplinary unit, which Development Studies is, raises particular challenges that you do not necessarily encounter when teaching in a disciplinary department. I address all at once the theory and history of anthropology, policy issues, applied anthropology, as well as a few fundamental issues such as identity or the sociocultural dimension of economics, and, on top of that, the potential contribution of anthropology as a critical discipline to the study of development and international relations. I have also been teaching a seminar addressing specifically the rights of indigenous peoples and the transnationalisation of law – its French title using the term “Droit(s)” to refer to both “law” and “rights”. Starting in 2010, I will teach that seminar in English. The fundamental problematic of the seminar is the dichotomy – if not the paradox – of recognition (of identity rights) and redistribution (of resources). The seminar also addresses a few theoretical concerns: what is “law”? what are “rights” ? – both in a broader framework than the one generally offered by legal positivism.
My seminar in HPI, entitled “Hybrid Histories: Indigenous Peoples and Nation-Building in North America”, is an attempt to look at the history of international relations from a non-Eurocentric viewpoint, and to establish indigenous peoples as international actors. This is why I thought about the seminar in the first place. I wished to create an opportunity for students to envision a larger frame of reference when dealing with the history of international relations. This is most topical, with minorities and indigenous peoples having gained entry into the United Nations, and with indigenous peoples especially having been extremely active over the last 30 years, both in New York and Geneva, within the human rights system and other UN agencies. Moreover, the historical dimension of indigenous claims beyond contemporary politics still need to be better understood : where does the legal-political category of “indigenous peoples” come from? what is the relationship between indigenous peoples and the states in which they now live? how to address what I would call the “founding dilemma” of neo-European states ? I think these are topics most relevant for HPI, where I can make a contribution as an anthropologist – and as an anthropologist interested in history!
Jaci Eisenberg: How did you become interested in your specific areas of research? As a student, when you were at university, how did you find this field?
Isabelle Schulte-Tenckhoff: By chance. I did my Ph.D. on potlatch theories. The potlatch is a form of ceremonial exchange to be found among the indigenous peoples of the Northwest coast of North America, that is, British Columbia, a portion of Alaska, even Oregon and California. The purpose of the potlatch is to confirm changes of status, or crucial moments of social life (a funeral, the investiture of a chief, a name-giving), via the exchange of so-called prestige goods. The potlatch has implications for anthropological theory and economics. Mainstream thinking has focused on allegedly wasteful spending and the apparent irrationality of ceremonial giftgiving. Yet the potlatch cannot be understood in terms of what is generally regarded as economic rationality, especially rational choice theory. So I started out with an interest in a critical approach to neo-classical economics. At the same time I discovered the situation of indigenous peoples as the somewhat forgotten inhabitants of North America. And it’s been going on from there. At one point, I started to focus more on legal issues because I worked for some years at the United Nations as a consultant for the Special Rapporteur on indigenous treaties.
Jaci Eisenberg: What was your path after working at the United Nations? Did you immediately go into teaching?
Isabelle Schulte-Tenckhoff: I was always teaching and working as a researcher simultaneously, either under my own steam, after having obtained funding from the Fonds National Suisse or other funding agencies, or as a consultant, because I always thought it would be interesting to do something outside of academia in order to set off my more academic side. I taught in several universities, in Switzerland and France, after obtaining my Ph.D., then I lived for nearly ten years in Canada where I also taught in different universities. I came back to Switzerland in autumn 2003 to take up the position I currently hold.
Jaci Eisenberg: How do your current interests align with the study of history?
Isabelle Schulte-Tenckhoff: My interest in history is of a methodological or epistemological nature – both because anthropologists have put a lot of effort into methodology and epistemology, and because anthropology as a discipline has a complicated relationship with history (some major classical theories, like evolutionism and diffusionism, are rather “pseudohistory”; conversely, so-called historical anthropology is an attempt to integrate anthropological concerns regarding society and culture into historical analysis). Also, one may look at archival sources as a sort of “field” (in the sense of anthropological fieldwork). It would be advantageous, especially at the level of Ph.D. studies, to expand on issues of methodology with regard to historical topics : how do you construct your object of research? how do you position yourself in epistemological or reflexive terms? As a historian no less than as an anthropologist, one must assume that one’s posture as a researcher affects the result of one’s work. One’s own interests, one’s concerns, one’s presuppositions flow into the work and ought to be objectified, to a certain extent at least.
Jaci Eisenberg: What projects are you currently working on?
Isabelle Schulte-Tenckhoff: I am finishing a book, which is actually a revised edition of a book I wrote prior to my Ph.D., which was a history of anthropology from a student’s point of view (I say that with hindsight). I’m revisiting the volume, which I’ve been using in my teaching, in order to give it a more precise focus in relation to development studies and international studies. The question is: what can anthropology accomplish in an Institute like ours ? I am also finalising a book on Canada. One of my more classic research foci is the culture concept. Cultural anthropology is one of the main components of North American anthropology – more so than in Europe, really, where anthropologists tend to focus rather on social organisation, to put it in a nutshell. One of my particular interests is the relationship between culture and law, which ties into my seminar on “law/rights” as well as the one I designed for HPI on “hybrid histories”. Canadianists tend to study either ethnicity, immigration and multiculturalism, or the situation of indigenous – or, as you say in Canada, aboriginal – peoples. For my part, I try to combine both these strands which are too often dissociated. So my other book is tentatively entitled Canada: autochtonie et multiculturalisme. It will be in French, like the history of anthropology whose initial title is La vue portée au loin.
Jaci Eisenberg: What are the advantages of IHEID?
Isabelle Schulte-Tenckhoff: For anybody who is an anthropologist or a sociologist, our Institute with its thematic focus is an interesting place to be at, especially since the merger has forced all of us, from ex-IUED as well as the former HEI, to give multi- or interdisciplinarity more thought. What is interesting in this regard is that student application figures are pretty high for the interdisciplinary programmes, and there seems to be a genuine interest among students. So I suppose we have our work cut out for us. The location is also a plus for anybody interested in international organisations, in certain topics such as refugees and migration, international policies, globalisation, the transnationalisation of law, and the like. In this regard, Geneva is a unique location.
18.3.09
The Film & Music Festival of Küstendorf (Serbia) or: How to get to Utopia
MIS-IHP 2nd year student Fiona Ziegler has sent in the following story about an unusual experience during her memoire research:
"From January 8 to 14, 2009, the internationally known director Emir Kusturica organized a film and music festival in his own village in the mountains of South-Western Serbia.[1] Only 50 km away from Nobel-Prize winner Ivo Andric’s famous “Bridge over the Drina,”[2] symbol for the encounter of Bosnian Islam with Serbian Orthodoxy, the festival’s location symbolizes the director’s own controversial identity.
Sarajevo-rooted Kusturica built up far away from any big city - 259 km from Belgrade and 136 km from Sarajevo, yet only 5 km away from the Serbian-Bosnian border - his own town:
“I have lost my own city that’s why I am building myself a new one - that’s the one.”[3] Its name: Küstendorf.
Praised as “the architect and creator of a perfect life that is out of the ordinary,”[4] Emir Kusturica’s Küstendorf appears like a cultural island in the middle of nowhere. Surrounded by mountains, it seems to be a revolutionary fortress, referring to the director’s own vision of utopia. Restoring traditional houses of the region, Kusturica wanted to construct an authentic, cultural place - a fortress that resists the influence of the globalized money-driven world. A fortress which Kusturica considers as “a home of a sweet dictator,”[5] who decides who is going to live and stay there and who doesn’t.
And as it is a fortress for Kusturica himself, it is also a fortress against the entire commercialized world of Hollywood. As Kusturica put it, “Küstendorf wants to create a new vision of the world,”[6] and in order to achieve this, culture is a necessity: “This place wants to bring tradition and the modernity together in the sense in which cinema becomes again a place where you have mostly authors as main mythical characters of cinema and not the events, not stupidity (…)”[7] And: “We choose always great artists to come here, not the stars. Because we hate stars.”[8]
In other words, the Küstendorf Film & Music Festival was envisioned as a platform mainly for young artists and filmmakers - “A place open to young artists from all around the world that have the possibility to meet each other, to see and hear each others work, to listen and speak with great international artists.”[9] And under that motto, the festival’s competition was about short features, shot by students of film academies and young independent filmmakers.[10]
One example of a great international artist who was specially invited to the festival is the American film director Jim Jarmusch. Within the festival’s program Retrospective of Greatness, Jarmusch presented his latest film Broken Flowers (2005). After showing the film, Jarmusch answered in a workshop patiently for more than two hours every single question asked by the audience.
Goran Gocic and Jim Jarmusch
Other special guests at the festival were the controversial Austrian author Peter Handke and Thierry Frémaux. The latter, a key figure within the Cannes Film Festival, gave an excellent workshop and later presented Cannes’ 08 Grand Prix-winner Gomorra (2008), directed by Matteo Garrone. Kusturica himself was presenting his latest production Maradona (2008), a documentary about the most famous football player of all times: the Argentinian Diego Maradona.
Emir Kusturica and Thierry Frémaux
*
As I am writing my Master’s thesis about Emir Kusturica’s film Underground (1995), the international debate/controversy about it and the image of Serbia, I accidentally found out about the festival in Küstendorf on Mokra Gora. Convinced that this festival must be something really special, I made my way up there into the far-away Serbian mountain region. Quite a trip! Olivia Spahni (MIS-IHP 2nd year) and Christophe Cachelin (Licence HEID 2008), the latter who works as a video journalist, came with me. And so the three of us, accompanied by all of Christophe’s film equipment (he was supposed to shoot a brief report on the festival for Swiss internet TV), flew on January 8 from Zurich to Belgrade.[11] There, we took a shuttle that brought us, together with an Ukrainian music band, to Küstendorf.
Approaching Küstendorf by car, on curvy roads and after a car ride of more than four hours from Belgrade, the town appeared like an island on the horizon within an ocean of mountains. What struck us from a distance was a brightly shining moon, lighting up the roofs of the small town. Finally, we arrived. It was bitterly cold. The town is surrounded by a wall; it really appears like a kind of fortress. Through a narrow gate, guarded by two huge, albeit very friendly security men, we could finally enter the town we heard so much about. What we see appears somehow unreal.
Amazingly, the “moon” we saw approaching uphill by car is a giant balloon, illuminating the centre of the village. The village’s narrow streets are named after Kusturica’s idols, such as Fellini, Bergman or Che Guevara and Diego Maradona. Down the main street, there is a little Orthodox church, a restaurant, a café, a souvenir shop, an art gallery, and a reception hall.
We enter the reception. The young woman there welcomes us warmly and gives us our accreditations to the festival. That includes one colourful plastic bag. Curious, we open it - and are taken by surprise as music jumps out of it … wonderfully energetic Balkan music (it was a bit like with those birthday cards which, when opened, play “Happy Birthday”). The bag was packed with the festival’s program and the festival pass and, of course, the music welcomed you, embraced you, made you realize that you had arrived in Kusturica’s wonder-world.
As the music box in the bag indicated, the festival was not only about films but also very much about music. Therefore, every night after the screenings, the projection screen was rolled up and a huge stage appeared behind it. The whole cinema changed within one hour into a vibrant music hall, and after midnight, concerts of selected musicians from all over the world created the ambiance. I have never seen people dancing so ecstatically as there - probably it was a mixture of: the end of a culturally overloaded day, Balkanic passions, consumption of Rakjia and Pivo, all heated up by the rhythms, beats, voices and moves of the musicians on stage.
*
A great asset of the festival was that Emir Kusturica and Jim Jarmusch were always present and reachable, day and night.
Jim Jarmusch talking to Christophe Cachelin
Although Kusturica himself mostly stood or sat in a narrow corner, more overviewing and observing than directing his festival, he and his family were all part of it. On the whole, the festival seemed to me like a platform for young film-makers and film-students, like a stimulating and at the same time easy going, happy workshop that was lasting for one entire week. It was not “Cannes”, “Venice”, “Locarno”, it was a truly unique, even crazy international film festival. And that made up its special charm.
We stayed in a hotel close to the train-station of Mokra Gora, reachable by an old steam engine locomotive.
Every morning around eleven o’clock, one hour before departure, a smell of burned carbon entered our room and finally, it was on the third morning, that we couldn’t stand it anymore and thus decided to take the train instead of being woken up by this uncomfortable smell.
After having had some Burek and yoghurt for breakfast, we got a round-ticket valid for a two-hour ride.
Olivia Spahni and Fiona Ziegler, MIS-IHP 2nd year students
Slowly, the train climbed up the snow-covered mountains, passing by traditional wooden houses, wild valleys, crossed stone bridges built over small rivers. Finally, we arrived at the turning point of our trip and the most beautiful spot to see Küstendorf from above.
At this spot, all passengers went out of the train and took a rest. On the way down, there was an additional stop for kissing the crazy rock - a rock that is supposed to bring everyone who kisses it luck.
Of course, I had to kiss it too. And all of a sudden, I found myself in front of that very house where Kusturica’s film Life is a miracle (2004) was shot.
Inspired by this last image, I went back to Mokra Gora. Next, I climbed up one last time the hill to Küstendorf where Serbian New Year’s eve was celebrated (Serbian Orthodox Christmas falls on January 7 and New Year’s Eve on January 13). On that special night, Emir Kusturica and his “Non Smoking Orchestra” played - and they gave everything!
The concert and all the madly wild dancing ended with warm wishes for a happy Serbian New Year.
And as daylight set in, the festival came to an end.
*
Looking back, participating in the festival of Küstendorf was an enormously intense and enriching experience, and I keep on thinking again and again about that special place in the mountains at the Serbian border to Bosnia, built up by a controversial and very talented film director and visionary - a place which was described on the festival’s own web-site as “the demonstration that, even nowadays, a utopia can exist.”[12] And I wonder: why not?"
-----------
[1] The second International Küstendorf Film & Music Festival was organized by Rasta International and sponsored by the Ministry of Culture of the Republic of Serbia. See more: http://www.kustendorf-filmandmusicfestival.org/2009/index.php?p=4&&ni=141&nd=1.
[2] See: The novel by Ivo Andric Na Drini ćuprija (The Bridge over the Drina), 1945.
[3] Kusturica, Emir: Tendre Barbare, directed by Marie-Christine Malbert, 2004 (ARTE, Une production Illégitime Défense), (00:47:43 – 00:47:48).
[4] See: Küstendorf tourist dossier, p. 1. For more information: http://www.mecavnik.info/.
[5] Kusturica, Emir: Interviewed in Küstendorf on January 10, 2009 by Christophe Cachelin and Fiona Ziegler, (00:03:25 – 00:03:37).
[6] Ibid., (00:00:23 – 00:00:28).
[7] Ibid., (00:01:20 – 00:01:30).
[8] Ibid., (00:03:00 – 00:03:18).
[9] Press and News 2009, Festival-website: www.kustendorf-filmandmusicfestival.org/2009/index.php?p=4, accessed on March 4, 2009.
[10] Film students from 16 countries competed for the Golden, Silver and Bronze Egg awards. Japanese director Kohki Hasei was awarded for the best short features film.
[11] You can access the report on: http://www.blick.ch/people/star-regisseur-wird-zum-dorf-diktator-109977.
[12] Press and News 2009, Festival-website: www.kustendorf-filmandmusicfestival.org/2009/index.php?p=4, accessed on March 4, 2009.
"From January 8 to 14, 2009, the internationally known director Emir Kusturica organized a film and music festival in his own village in the mountains of South-Western Serbia.[1] Only 50 km away from Nobel-Prize winner Ivo Andric’s famous “Bridge over the Drina,”[2] symbol for the encounter of Bosnian Islam with Serbian Orthodoxy, the festival’s location symbolizes the director’s own controversial identity.
Sarajevo-rooted Kusturica built up far away from any big city - 259 km from Belgrade and 136 km from Sarajevo, yet only 5 km away from the Serbian-Bosnian border - his own town:
“I have lost my own city that’s why I am building myself a new one - that’s the one.”[3] Its name: Küstendorf.
Praised as “the architect and creator of a perfect life that is out of the ordinary,”[4] Emir Kusturica’s Küstendorf appears like a cultural island in the middle of nowhere. Surrounded by mountains, it seems to be a revolutionary fortress, referring to the director’s own vision of utopia. Restoring traditional houses of the region, Kusturica wanted to construct an authentic, cultural place - a fortress that resists the influence of the globalized money-driven world. A fortress which Kusturica considers as “a home of a sweet dictator,”[5] who decides who is going to live and stay there and who doesn’t.
And as it is a fortress for Kusturica himself, it is also a fortress against the entire commercialized world of Hollywood. As Kusturica put it, “Küstendorf wants to create a new vision of the world,”[6] and in order to achieve this, culture is a necessity: “This place wants to bring tradition and the modernity together in the sense in which cinema becomes again a place where you have mostly authors as main mythical characters of cinema and not the events, not stupidity (…)”[7] And: “We choose always great artists to come here, not the stars. Because we hate stars.”[8]
In other words, the Küstendorf Film & Music Festival was envisioned as a platform mainly for young artists and filmmakers - “A place open to young artists from all around the world that have the possibility to meet each other, to see and hear each others work, to listen and speak with great international artists.”[9] And under that motto, the festival’s competition was about short features, shot by students of film academies and young independent filmmakers.[10]
One example of a great international artist who was specially invited to the festival is the American film director Jim Jarmusch. Within the festival’s program Retrospective of Greatness, Jarmusch presented his latest film Broken Flowers (2005). After showing the film, Jarmusch answered in a workshop patiently for more than two hours every single question asked by the audience.
Goran Gocic and Jim Jarmusch
Other special guests at the festival were the controversial Austrian author Peter Handke and Thierry Frémaux. The latter, a key figure within the Cannes Film Festival, gave an excellent workshop and later presented Cannes’ 08 Grand Prix-winner Gomorra (2008), directed by Matteo Garrone. Kusturica himself was presenting his latest production Maradona (2008), a documentary about the most famous football player of all times: the Argentinian Diego Maradona.
Emir Kusturica and Thierry Frémaux
*
As I am writing my Master’s thesis about Emir Kusturica’s film Underground (1995), the international debate/controversy about it and the image of Serbia, I accidentally found out about the festival in Küstendorf on Mokra Gora. Convinced that this festival must be something really special, I made my way up there into the far-away Serbian mountain region. Quite a trip! Olivia Spahni (MIS-IHP 2nd year) and Christophe Cachelin (Licence HEID 2008), the latter who works as a video journalist, came with me. And so the three of us, accompanied by all of Christophe’s film equipment (he was supposed to shoot a brief report on the festival for Swiss internet TV), flew on January 8 from Zurich to Belgrade.[11] There, we took a shuttle that brought us, together with an Ukrainian music band, to Küstendorf.
Approaching Küstendorf by car, on curvy roads and after a car ride of more than four hours from Belgrade, the town appeared like an island on the horizon within an ocean of mountains. What struck us from a distance was a brightly shining moon, lighting up the roofs of the small town. Finally, we arrived. It was bitterly cold. The town is surrounded by a wall; it really appears like a kind of fortress. Through a narrow gate, guarded by two huge, albeit very friendly security men, we could finally enter the town we heard so much about. What we see appears somehow unreal.
Amazingly, the “moon” we saw approaching uphill by car is a giant balloon, illuminating the centre of the village. The village’s narrow streets are named after Kusturica’s idols, such as Fellini, Bergman or Che Guevara and Diego Maradona. Down the main street, there is a little Orthodox church, a restaurant, a café, a souvenir shop, an art gallery, and a reception hall.
We enter the reception. The young woman there welcomes us warmly and gives us our accreditations to the festival. That includes one colourful plastic bag. Curious, we open it - and are taken by surprise as music jumps out of it … wonderfully energetic Balkan music (it was a bit like with those birthday cards which, when opened, play “Happy Birthday”). The bag was packed with the festival’s program and the festival pass and, of course, the music welcomed you, embraced you, made you realize that you had arrived in Kusturica’s wonder-world.
As the music box in the bag indicated, the festival was not only about films but also very much about music. Therefore, every night after the screenings, the projection screen was rolled up and a huge stage appeared behind it. The whole cinema changed within one hour into a vibrant music hall, and after midnight, concerts of selected musicians from all over the world created the ambiance. I have never seen people dancing so ecstatically as there - probably it was a mixture of: the end of a culturally overloaded day, Balkanic passions, consumption of Rakjia and Pivo, all heated up by the rhythms, beats, voices and moves of the musicians on stage.
*
A great asset of the festival was that Emir Kusturica and Jim Jarmusch were always present and reachable, day and night.
Jim Jarmusch talking to Christophe Cachelin
Although Kusturica himself mostly stood or sat in a narrow corner, more overviewing and observing than directing his festival, he and his family were all part of it. On the whole, the festival seemed to me like a platform for young film-makers and film-students, like a stimulating and at the same time easy going, happy workshop that was lasting for one entire week. It was not “Cannes”, “Venice”, “Locarno”, it was a truly unique, even crazy international film festival. And that made up its special charm.
We stayed in a hotel close to the train-station of Mokra Gora, reachable by an old steam engine locomotive.
Every morning around eleven o’clock, one hour before departure, a smell of burned carbon entered our room and finally, it was on the third morning, that we couldn’t stand it anymore and thus decided to take the train instead of being woken up by this uncomfortable smell.
After having had some Burek and yoghurt for breakfast, we got a round-ticket valid for a two-hour ride.
Olivia Spahni and Fiona Ziegler, MIS-IHP 2nd year students
Slowly, the train climbed up the snow-covered mountains, passing by traditional wooden houses, wild valleys, crossed stone bridges built over small rivers. Finally, we arrived at the turning point of our trip and the most beautiful spot to see Küstendorf from above.
At this spot, all passengers went out of the train and took a rest. On the way down, there was an additional stop for kissing the crazy rock - a rock that is supposed to bring everyone who kisses it luck.
Of course, I had to kiss it too. And all of a sudden, I found myself in front of that very house where Kusturica’s film Life is a miracle (2004) was shot.
Inspired by this last image, I went back to Mokra Gora. Next, I climbed up one last time the hill to Küstendorf where Serbian New Year’s eve was celebrated (Serbian Orthodox Christmas falls on January 7 and New Year’s Eve on January 13). On that special night, Emir Kusturica and his “Non Smoking Orchestra” played - and they gave everything!
The concert and all the madly wild dancing ended with warm wishes for a happy Serbian New Year.
And as daylight set in, the festival came to an end.
*
Looking back, participating in the festival of Küstendorf was an enormously intense and enriching experience, and I keep on thinking again and again about that special place in the mountains at the Serbian border to Bosnia, built up by a controversial and very talented film director and visionary - a place which was described on the festival’s own web-site as “the demonstration that, even nowadays, a utopia can exist.”[12] And I wonder: why not?"
-----------
[1] The second International Küstendorf Film & Music Festival was organized by Rasta International and sponsored by the Ministry of Culture of the Republic of Serbia. See more: http://www.kustendorf-filmandmusicfestival.org/2009/index.php?p=4&&ni=141&nd=1.
[2] See: The novel by Ivo Andric Na Drini ćuprija (The Bridge over the Drina), 1945.
[3] Kusturica, Emir: Tendre Barbare, directed by Marie-Christine Malbert, 2004 (ARTE, Une production Illégitime Défense), (00:47:43 – 00:47:48).
[4] See: Küstendorf tourist dossier, p. 1. For more information: http://www.mecavnik.info/.
[5] Kusturica, Emir: Interviewed in Küstendorf on January 10, 2009 by Christophe Cachelin and Fiona Ziegler, (00:03:25 – 00:03:37).
[6] Ibid., (00:00:23 – 00:00:28).
[7] Ibid., (00:01:20 – 00:01:30).
[8] Ibid., (00:03:00 – 00:03:18).
[9] Press and News 2009, Festival-website: www.kustendorf-filmandmusicfestival.org/2009/index.php?p=4, accessed on March 4, 2009.
[10] Film students from 16 countries competed for the Golden, Silver and Bronze Egg awards. Japanese director Kohki Hasei was awarded for the best short features film.
[11] You can access the report on: http://www.blick.ch/people/star-regisseur-wird-zum-dorf-diktator-109977.
[12] Press and News 2009, Festival-website: www.kustendorf-filmandmusicfestival.org/2009/index.php?p=4, accessed on March 4, 2009.
5.3.09
Eighth Conference of the European Historical Economics Society, Geneva, 3-6 September 2009
Ph.D. candidate Seamus Taggart has sent in the following note about an upcoming conference of great interest to the HPI section:
"From Sept 3rd-6th 2009, the Graduate Institute of International and Development Studies will host in conjunction with the European Historical Society, the Eighth Conference of the European Historical Economics Society in the Villa Barton. The conference is being organized under the tireless direction of Prof. Marc Flandreau. The key speaker will be Barry Eichengreen of the University of California, Berkeley. The conference is hoping to attaract substantial student attendance. A prize of 1,000 euros named after Gino Luzzatto will be awarded by the European Historical Economics Society to the best Ph.D. Dissertation on any subject relating to economic history written by a young European scholar coming from any university and defended duringthe period August 2007 to June 2009. Also a limited number of subsidies in the form of discount on registration fees will be made available to graduate students."
The Conference main page can be found here. The registration page is here, logistical information is here, and important deadlines to abide by are here (information on the call for papers is here.)
Mark your calendars now, and venez nombreux!
"From Sept 3rd-6th 2009, the Graduate Institute of International and Development Studies will host in conjunction with the European Historical Society, the Eighth Conference of the European Historical Economics Society in the Villa Barton. The conference is being organized under the tireless direction of Prof. Marc Flandreau. The key speaker will be Barry Eichengreen of the University of California, Berkeley. The conference is hoping to attaract substantial student attendance. A prize of 1,000 euros named after Gino Luzzatto will be awarded by the European Historical Economics Society to the best Ph.D. Dissertation on any subject relating to economic history written by a young European scholar coming from any university and defended duringthe period August 2007 to June 2009. Also a limited number of subsidies in the form of discount on registration fees will be made available to graduate students."
The Conference main page can be found here. The registration page is here, logistical information is here, and important deadlines to abide by are here (information on the call for papers is here.)
Mark your calendars now, and venez nombreux!
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