Orphans Of The East

An analysis of films produced in post-World War II Eastern Europe featuring the trope of the orphan, and the issues these characters addressed. Unlike the benevolent orphan found in Charlie Chaplin’s The Kid or the sentimentalized figure of Little Orphan Annie, the orphan in postwar Eastern European cinema takes on a more politically fraught role, embodying the tensions of individuals struggling to recover from war and grappling with an unknown future under Soviet rule. By exploring films produced in postwar Hungary, the German Democratic Republic, Czechoslovakia, Romania, and Poland, Constantin Parvulescu traces the way in which cinema envisioned and debated the condition of the post-World War II subject and the “new man” of Soviet-style communism. In these films, the orphan becomes a cinematic trope that interrogates socialist visions of ideological institutionalization and re-education and stands as a silent critic of the system’s shortcomings or as a resilient spirit who has resisted capture by the political apparatus of the new state. “By using the trope of an orphan Constantin Parvulescu demonstrates how films made in countries such as Hungary, East Germany, Poland, Czechoslovakia and Romania reflected on the specific problems affecting Eastern Europe after 1945, such as the loss of population, economic backwardness, the legacy of the Holocaust, while engaging in wider debates, especially the superiority of socialism over capitalism. Economically and elegantly written, it demonstrates that cinema produced in the periphery can be central to our understanding of films as ideological tools. This is one of the best books on Eastern European cinema ever written.” —Ewa Mazierska, University of Central Lancashire “Groundbreaking. . . . The author’s comparative, transnational perspective in chapters devoted to close textual analyses of each narrative demonstrates the value of reading film as a primary source for understanding the relationships among state power, intergenerational trauma, and revolutionary subjectivity. Parvulescu’s highly original portrayal of a landscape of parentless children evokes the trauma of war and the specificity of the socialist experiment in the former Eastern Bloc.” —Catherine Portuges, University of Massachusetts-Amherst “Parvulescu has taken a highly innovative approach to socialist and post-socialist cinema in the region, and one that is vividly illustrated by a superb selection of films.” —Studies in European Cinema

Palestinian children and young people living both within and outside of refugee camps in the Middle East are the focus of this book. For more than half a century these children and their caregivers have lived a temporary existence in the dramatic and politically volatile landscape that is the Middle East. These children have been captive to various sorts of stereotyping, both academic and popular. They have been objectified, much as their parents and grandparents, as passive victims without the benefit of international protection. And they have become the beneficiaries of numerous humanitarian aid packages which presume the primacy of the Western model of child development as well as the psycho-social approach to intervention. Giving voice to individual children, in the context of their households and their community, this book aims to move beyond the stereotypes and Western-based models to explore the impact that forced migration and prolonged conflict have had, and continue to have, on the lives of these refugee children.

From the internationally bestselling author of The Secret Orphan comes her brand new unputdownable historical fiction novel!

In 1949, about 123 Polish Displaced Persons orphans were brought to Canada from East Africa as part of the settlement of the postwar DP crisis. The situation became an international incident when Warsaw protested that the International Refugee Organization was kidnapping these children to use as slave labour on Canadian farms and factories.

History books often weave tales of rising and falling empires, royal dynasties, and wars among powerful nations. Here, Maksudyan succeeds in making those who are farthest removed from power the lead actors in this history. Focusing on orphans and destitute youth of the late Ottoman Empire, the author gives voice to those children who have long been neglected. Their experiences and perspectives shed new light on many significant developments of the late Ottoman period, providing an alternative narrative that recognizes children as historical agents. Maksudyan takes the reader from the intimate world of infant foundlings to the larger international context of missionary orphanages, all while focusing on Ottoman modernization, urbanization, citizenship, and the maintenance of order and security. Drawing upon archival records, she explores the ways in which the treatment of orphans intersected with welfare, labor, and state building in the Empire. Throughout the book, Maksudyan does not lose sight of her lead actors, and the influence of the children is always present if we simply listen and notice carefully as Maksudyan so convincingly argues.

The Little Immigrants is a tale of compassion and courage and a vivid account of a deep and moving part of Canadian heritage. In the early years after Confederation, the rising nation needed workers that could take advantage of the abundant resources. Until the time of the Depression, 100,000 impoverished children from the British Isles were sent overseas by well-meaning philanthropists to solve the colony's farm-labour shortage. They were known as the "home children," and they were lonely and frightened youngsters to whom a new life in Canada meant only hardship and abuse. This is an extraordinary but almost forgotten odyssey that the Calgary Herald has called, "One of the finest pieces of Canadian social history ever to be written." Kenneth Bagnell tells "an affecting tale of Dickensian pathos" (Vancouver Sun) that is "excellent ... well organized, logical, clearly written, [and] suspenseful" (The Edmonton Journal).

Polish Orphans of Tengeru is the story of 123 Polish Catholic Displaced Person (DP) orphans who were brought to Canada from East Africa in 1949 as part of the settlement of the postwar DP crisis. They arrived in East Africa in a mass exodus of Poles out of the gulags of Siberia in 1942 and 1943. As they were being moved from Tanganyika in 1949, through Italy and Germany to Canada, the situation became an international incident. Warsaw protested that Canada and the International Refugee Organisation, with the active collaboration of the American and British governments, were kidnapping the children to use as slave labour on Canadian farms and in Canadian factories, tearing them from their families in Poland. The incident even reached the floor of the General Assembly of the United Nations, and dragged the Italian, British, and American governments before all was said and done.