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Fairytale Women: Gender Politics in Soviet and Post-Soviet Animated Adaptations of Russian National Fairytales

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Fairytale Women: Gender Politics in Soviet and Post-Soviet Animated Adaptations of Russian National Fairytales FAIRYTALE WOMEN: GENDER POLITICS IN SOVIET AND POST-SOVIET ANIMATED ADAPTATIONS OF RUSSIAN NATIONAL FAIRYTALES NADEZDA FADINA This is a digitised version of a dissertation submitted to the University of Bedfordshire. It is available to view only. This item is subject to copyright. FAIRYTALE WOMEN: GENDER POLITICS IN SOVIET AND POST-SOVIET ANIMATED ADAPTATIONS OF RUSSIAN NATIONAL FAIRYTALES by NADEZDA FADINA MA in International Cinema (Commendation) A thesis submitted to the University of Bedfordshire in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Bedfordshire Research School for Media, Arts and Performance January, 2016 DECLARATION I declare that this thesis is my own unaided work. It is being submitted for the degree of Ph.D at the University of Bedfordshire. It has not been submitted before for any degree or examination in any other University. Name of candidate: Nadezda Fadina Signature: Date: FAIRYTALE WOMEN: GENDER POLITICS IN SOVIET AND POST-SOVIET ANIMATED ADAPTATIONS OF RUSSIAN NATIONAL FAIRYTALES. NADEZDA FADINA Abstract Despite the volume of research into fairytales, gender and ideology in media studies, the specific subject of animated adaptations of national fairytales and their role in constructing gender identities remains a blind spot at least in relation to non-Western and non-Hollywood animation. This study addresses the gap by analysing animated adaptations of Russian national fairytales in Soviet and post-Soviet cinema and television. It does so as a tool through which to approach the gender politics of the dominant ideologies in national cinema and also, though to a lesser extent, in television. One of the key perspectives this research adopts concerns the reorganization of the myths of femininity, as stored in ‘national memory’ and transferred through the material of national fairytales produced during a century-long period. By providing a detailed critical treatment of animated adaptations of Russian magic fairytales, this research examines the interaction between the cinematic versions of the national fairytales and the representation of female characters on screen. It draws on a range of feminist theoretical approaches on media representation. By performing a systematic study of the under-researched field, through a combination of qualitative and empirical analysis, the work demonstrates how totalitarian regimes and new democratic societies implicitly control gender constructions in similar ways, and specifically through the animated versions of national fairytale adaptations. The research identifies how the constructions of femininity are manipulated through the reshaping of the national past coded in the ancient folkloric narratives. The findings of the study reveal the principles on which the implicit patriarchal gender politics is based. These principles include the conservative choice of fairytale material adapted to the screen, the reactionary increase of production of animated fairytales targeted against liberalisation, the exclusion and reconstruction of strong matriarchal fairytale female characters, stereotypical representation of selected female characters, and normalisation of domestic violence. In so doing the study identifies a weakness in the existing scholarly discourse on ideology, which traditionally has claimed that Soviet animation was non-violent. Further, the study establishes the constructions of national memory and female identity as a part of the dominant cinematic discourses. Keywords: Russian, animation, gender, fairytale, ideology ACKNOWLEDGEMENTS There are many people I am grateful to. First must come a thank you to my supervisors Dr Carlota Larrea and Professor Luke Hockley for their support and mentoring. My thanks also go to the Research Institute of Media, Art and Performance (RIMAP) at the University of Bedfordshire, who have so generously supported this research. I am grateful to my family who was there with me along the way. v LIST OF CONTENTS Abstract Acknowledgment ................................................................................................................ V List of contents .................................................................................................................. VI Introduction ..........................................................................................................................1 Organisation of the thesis .........................................................................................9 Methodology and research question ..................................................................................16 Research Question .................................................................................................16 Hypothesis..............................................................................................................16 The choice of the material for investigation ..........................................................20 Categorisation created in the process of research ..................................................29 Trajectory of the research process .........................................................................30 Literature review ................................................................................................................32 Research into Russian animation ...........................................................................33 The Ideology of the Russian screen .......................................................................41 Fairytales and their adaptations .............................................................................46 Fairytales ....................................................................................................46 Adaptations ................................................................................................53 Chapter 1: Animation in Soviet and post-Soviet Reality ...................................................56 Early animation in Russia ......................................................................................56 Creating a soviet citizen, building a bright future ..................................................63 Post World War animation in Russia and Disney's spell .......................................75 The Thaw and animation .......................................................................................81 Before the collapse: animation of the late Soviet period .......................................86 New Russia's animation .........................................................................................93 Chapter 2: Fairytale on Screen: Fairytales and their Cinematic Adaptations ..................100 Fairytale as a form ...............................................................................................100 Cinematic fairytale and ideology .........................................................................106 Soviet and post-Soviet animated adaptations on screen ......................................110 Adapting Secret Russian Soul for the screen .......................................................120 Chapter 3: The Fairytale of Gender and Identity .............................................................126 Politics of national idenity (de)construction ........................................................126 Russian Woman as a National Object and Symbol .............................................134 Chapter 4: The Fairytale Women .....................................................................................168 Ved'mi (Those Who Know) – Witches ................................................................177 Nevesti (Those Who Do not Know) – Brides ......................................................187 Chapter 5: When the Fairytale Comes True ....................................................................211 Po Schuchemu Veleniu (As the Pike Orders) .......................................................212 Tsarevna Lyagushka (The Frog Princess) ............................................................231 vi Conclusion .......................................................................................................................259 Appendix I .......................................................................................................................268 A) Animated films based on magic fairytales, remade several times over the studied period 1922 – 2014 ....................................................................269 B) Fairytales which have been adapted to the screen only once ..........................275 C) Films containing fairytale characters and which are based on some motifs and elements that have been derived from several national fairytales .....276 Appendix II ......................................................................................................................278 Appendix III .....................................................................................................................280 Appendix IV .....................................................................................................................281 Table 1: Fairytales categorised based on the gender of the protagonist ..............281 Table 2: Female Heroines that Require Rescuing by Male Characters ...............286 Table 3: Female Heroines Involved in House-keeping Activities and Other Traditionally Considered Female Activities ........................................................289 Table
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