Abstract
This articles discusses various strategies and curatorial practises around adapting Russian Film Heritage for contemporary public audiences in the UK.
Highlights
This articles discusses various strategies and curatorial practises around adapting Russian Film Heritage for contemporary public audiences in the UK
On the same day that I was packing my bags to go up to St Andrews for the Slavic Studies Goes Public workshop, I was invited to engage the public by giving an introduction to a wonderful Soviet musical comedy, A Man from the Boulevard des Capucines (1987), as part of the BFI Musicals!
V0i0.359 season, which took place at various London venues in January 2020. Forced to decline this invitation due to my travel commitments, I spent the journey to Scotland rewatching the film and writing a programme note, which was circulated to the audience during the screening, while the filmmaker and writer Hope Dickson Leach gave a live introduction in my absence
Summary
On the same day that I was packing my bags to go up to St Andrews for the Slavic Studies Goes Public workshop, I was invited to engage the public by giving an introduction to a wonderful Soviet musical comedy, A Man from the Boulevard des Capucines (1987), as part of the BFI Musicals! While this Soviet musical is a delight to watch on its own, to package a screening of it as a public engagement activity entails coming up with a lot of extra materials: an attractive venue, relevant speakers to introduce it, a programme note, a trailer for the season, posters, post-event drinks, and so on.
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