The Representation of Women in the Cinemas of the Thaw
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FREED BY IDEOLOGY, IMPRISONED BY REALITY: THE REPRESENTATION OF WOMEN IN THE CINEMAS OF THE THAW AND PERESTROIKA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Olha Kofman Graduate Program in Slavic and East European Studies The Ohio State University 2013 Dissertation Committee: Yana Hashamova, Advisor Helena Goscilo Angela Brintlinger John Davidson Copyright by Olha Kofman 2013 ABSTRACT The goal of the present dissertation is to trace the dynamics present in film representations of women characters during the Thaw, Perestroika, and the ealy 1990s by identifying and analyzing female types appearing on screen as a result of political, economic, and social changes during the two periods. The given periods were purportedly the two with the most potential for change in women’s status, one inferior in both family and society despite the October revolution’s ostensible claims of gender equality. The present study also revisits the deeply-rooted belief that traditional gender roles are biologically-predetermined based on allegedly innate traits distinctive to both sexes, a belief that ultimately led to the rigid distribution of gender responsibilities: the domestic realm as the primary domain of women, while social and political spheres are designed mainly by and for men. In the analysis of female images, feminist film Reflection theory and psychoanalysis are employed. Reflection theory, a sociological role-focused approach, analyzes gender stereotypes, the extent to which women are shown as active or passive, and the manner in which political, social, and economic contexts influence representations of women on screen. The second approach is situated in psychoanalytic studies including the theory of “the three orders” pioneered by Jacques Lacan, Laura ii Mulvey’s theory of the “three related looks” which explores the woman’s passive role as a sexual object on screen for the male gaze, and Yana Hashamova’s analysis of the psychological dynamics of the gender paradigm in the transitional period during and after Perestroika. Building on and diverging from existing scholarship that discusses films relating to the gender matter, the present study combines plot analysis with analysis of the cinematic language the director employs: the cinematic narrative, photography, editing, and acting. In the examination of women characters appearing on the screen during the Thaw, Perestroika, and the early post-Perestroika years, it is established that, while both periods portray the young woman, the mother, and the single woman, certain shifts in their representations in Perestroika cinema occurred. Thaw directors’ sanctioned and favorable images metamorphose into more antagonistic female portrayals by the directorship of Perestroika. The self-sacrificing mother of the Thaw is replaced by an overbearing mother figure in Perestroika films, a replacement that puts forward a question for further inquiry: can the mother fully and successfully assume the position of the father? The representation of the single woman during the two periods champions an unchanged tenet of the traditional perspective: the roles of mother and wife are the most deeply satisfying for a woman and a single woman’s professional success is an insufficient substitute for personal happiness. iii The research and cinematic analyses allow the reader to conclude that, despite powerful female images on screen during the two periods, attempts to advance the “woman question” expose, first and foremost, gender discrepancies. As a result, the patriarchal structure maintains its primary position and the “woman question” continues to be auxiliary in the traditional view of gender and, therefore, remains one of the major philosophical quandaries in gender studies. iv ACKNOWLEDGEMENTS I would like to recognize the contributions of those who supported and contributed to my research. For my advisor, Dr. Yana Hashamova, my thanks for her courses on the gender matter and her collaboration as I researched and wrote my dissertation. Her courses offered insight into questions of gender, caused me to ponder the “woman question,” and facilitated my understanding that gender is simply a construct created by humans to achieve their purposes in life and in relationships. To Dr. Helena Goscilo, my appreciation for her work in the gender studies field, her constructive criticism as an expert in the field, and her participation in my dissertation defense. I am indebted to Dr. Angela Brintlinger for introducing me to the collection of articles: Beyond Little Vera: Women's Bodies, Women's Welfare in Post-Socialist Russian, Central and Eastern Europe, which served as an indispensible resource in the early stages of my research. I am also in her debt for her comments and suggestions for my prospectus. Finally, I want to recognize the involvement of Dr. John Davidson in my prospectus process. His recommendations of significant resources that focus on the female protagonist in film were important to the naissance of my work. v VITA 2000 ............................................................ B.A. Methodology of Teaching Foreign Languages, Chernigov State University 2001 ............................................................ M.A. Methodology of Teaching Foreign Languages, Chernigov State University 2003 ............................................................ Graduate Teaching Associate, Department of Slavic and East European Studies, The Ohio State University 2009 to present……………………………… Russian Language Instructor; NASA Fields of Study Major Field: Slavic and East European Studies vi TABLE OF CONTENTS Abstract………………………………………………………………………………...ii-iv Acknowledgements.………………………………………………………………………v Vita……………………………………………………………………………………….vi List of Figures……………………………………………………………….………..viii-x Introduction…………..………………………………………………………………..1-13 Part I………………………………………………………………………………...14-103 Chapter 1: Gender Policies during the Khrushchev Era……………………………14-19 Chapter 2: Soviet Cinema during the Thaw Era……………………………………20-23 Chapter 3: Screening Women during the Thaw……………………………………24-96 Conclusion. Combining the Incompatible: “Feminine” versus “Masculine”……………………………………………………………...…….……97-103 Part II………………………………………………………………………………104-184 Chapter 1: Gender Reforms during Perestroika: From Great Hope to Great Disillusionment…………………………………………………………………..104-109 Chapter 2: The Representations of Women in the Cinema of Perestroika………110-184 Conclusions……………………………………………………………………....185-194 Bibliography……………………………………………………………………….195-200 Filmography………………………………………………………………………..201-202 vii LIST OF FIGURES Figure 1. Chuliukin’s Gals. – Tosia is beckoning back to Kovrygin in the culture club……………………………………………………………………………………….27 Figure 2. Liubimov’s Women. – Dusia is gathering the pearls of her broken necklace…………………………………………………………………………………..38 Figure 3. Rostotskii’s It Happened in Pen’kovo. – Tonia’s first meeting with the chairman of the kolkhoz………………………………………………………………….42 Figure 4. Rostotskii’s It Happened in Pen’kovo. – Tonia and Larisa united in their love and grief over Matvei…………………………………………………………………….45 Figure 5. Rostotskii’s It Happened in Pen’kovo. – Tonia thinking of Matvei…………...46 Figure 6. Khutsiev and Mironer’s Spring on Zarechnaia Street. – Sasha and Tania are listening to a Rachmaninov concerto…………………………………………………….49 Figure 7. Kalatozov’s The Cranes Are Flying. - A canted close-up of Veronika that reveals her shock at the tragic loss of her parents……………………………………......52 Figure 8. Kalatozov’s The Cranes Are Flying. – A close-up of the still ticking clock when Veronika learns about her parents’ death……………………………………………….. 52 Figure 9. Kalatozov’s The Cranes Are Flying. –Veronika’s motionless body in Mark’s arms………………………………………………………………………………………53 Figure 10. Kalatozov’s The Cranes Are Flying. – Veronika rescues a little boy named Boris……………………………………………………………………………………...55 Figure 11. Chukhrai’s Clear Skies. – Astakhov is kneeling in front of Sasha to put her shoe on…………………………………………………………………………………...59 Figure 12. Chukhrai’s The Forty Fist. – Mariutka and the White Lieutenant are drying out by the fire………………………………………………………………………………...69 viii Figure 13. Askol’dov’s The Commissar. – Vavilova’s transformation from the “masculine” commissar into the mother-to-be…………………………………………..75 Figure 14. Askol’dov’s The Commissar. – The soldiers are mowing the desert with the scythes……………………………………………………………………………………78 Figure 15. Askol’dov’s The Commissar. – Vavilova’s internal struggle when choosing between her child and the revolution……………………………………………………85 Figure 16. Chukrai’s The Forty First. – Mariutka is mourning over the dead body of the White officer……………………………………………………………………………..90 Figure 17. Shepitko’s Wings. – Petrukhina is drinking with men in a pub………………92 Figure 18. Shepitko’s Wings. – Petrukhina is holding a cake knife the way men do……95 Figure 19. Todorovskii’s Intergirl. – A close-up of Tania that reveals complex feelings of simultaneous anguish, abhorrence, and helplessness…………………………………...118 Figure 20. Todorovskii’s Intergirl. – The freeze frame that suggests that Tania dies in the accident on her way to the airport………………………………………………………120 Figure 21. Ashkenazi’s Criminal Talent. – The view of the factory where Shura works……………………………………………………………………………………125 Figure 22. Ashkenazi’s Criminal Talent. – A heart-to-heart talk between Shura and Riabinin…………………………………………………………………………………128 Figure 23. Pichul’s Little Vera.