Class act

The film was recorded over two years by Pavel “Pasha” Talankin, an events coordinator and videographer at a high school in Karabash, a heavily polluted town in the Russian Urals. The documentary records the intensification of Kremlin-directed ultranationalist and pro-war propaganda within the Russian school system since the full-scale invasion of Ukraine began in February 2022.

Talankin makes clear his view that this approach to “education” represents a moral wrong, and he is very much on point with the writings of the key ethicists on the subject. American theologian Reinhold Niebuhr, for example, wrote that “education is both a tool of propaganda in the hands of dominant groups, and a means of emancipation for subject classes”.

Niebuhr was writing about the education system in the US during the 1920s, when there was a widespread understanding that education was used in these two ways. Talankin’s concern is that Russia has moved to a position of imbalance, where the “dominant groups” have too much influence and are using their power to corrupt the minds of children through disingenuous narratives about national servitude, sacrifice and conformity, coupled with the unsubtle threat that those who are not patriots are “parasites”.

In their highly respected book Propaganda & Persuasion (1986), propaganda experts Garth Jowett and Victoria O’Donnell state that “to analyse propaganda, one needs to be able to identify it”. This is a difficult task because propaganda thrives through symbols, the subliminal and in fictional works precisely because the audience is not conscious of it.

However, the creation of an environment that uses propaganda is also dependent upon who is given the oxygen of publicity and who is marginalised. These are the conditions under which ideological indoctrination occurs and power is achieved or maintained.

As such, a critical analyst of propaganda must assess the linguistic strategy, the information strategy, the eminence strategy (how to ensure that the target audience is watching, reading or listening to the desired content) and the staging strategy of the communicator. This can be remembered through the helpful L.I.E.S. mnemonic.

Talankin’s footage shows how Russian schools now promote distorted versions of European history. The well-trodden narrative that Ukraine has been taken over by neo-Nazis is referred to several times in lessons. Russian flags appear with greater frequency around the school as time goes on, and assembly time becomes an exercise in pledging allegiance to the fatherland.

Teachers are expected to read from scripts prepared for them by the Ministry of Education. Pupils then respond with choreographed answers — some even glancing down at notes under their desks. The children are told about how dreadful life in France and the UK is because of their reliance on Russian fossil fuels.

Interestingly, the Kremlin has asked that all of this be videoed and uploaded to a central database to ensure compliance with national regulations on what is taught in schools. Indeed, Talankin complains at one point that much of his time is now spent uploading the videos rather than actually teaching the students and helping them to be creative — as his job previously was.

Talankin takes us on a tour of his city. He shows a pro-war rally that is broadly supported by the townsfolk. Or at least those in opposition dare not say anything or engage in an equivalent demonstration. He takes us to the civic library, theoretically a site of independent learning but which has been hijacked by these propaganda efforts.

Perhaps the most important moments of the documentary though are the snippets of critique and the sense of “knowing” that Talankin is keen to show. The young girl who jokingly tells her teacher to “blink twice if you’re lying”, and to which all her class then laugh. His interactions with other teachers who confide in him that they know that the propaganda is bullshit, but, worried for their status and prosperity, go along with it.

The propaganda is pretty poor though. It is clunky and obvious, and, while it might generate some short-term influence, it smacks of both arrogance and desperation on the part of the Kremlin. Indeed, it shows that there is no desire on the part of the central government for Russian people to thrive intellectually.

This scenario is reminiscent of the end of the Soviet era, when communist propaganda continued to prevail, but few still believed it. Nevertheless, without a clear alternative to follow, or obvious alternative leader to guide them, most people continued to abide.

The most harrowing part of the documentary comes towards the end when Talankin provides an audio recording of the funeral of a local lad who has been killed in Ukraine. He did not dare film the funeral as this is a cultural faux pas, but the screams and wails of the mother as her son is laid to rest are piercing. The scene seems intended to bring our shared humanity to bare.

Talankin is a nice guy with intelligence and ethical fortitude. The kids are funny, charming and talented. The mother is doing what we would all do if we had lost a child to a violent death. As such, Mr. Nobody Against Putin might better be called Mr. Everybody Against Putin, as it should be of grave concern to everyone that Russia’s education system is resorting to such techniques.