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Eva Näripea Lk1-284.Indd Dissertationes Academiae Artium Estoniae 6 Estonian Cinescapes: Spaces, Places and Sites in Soviet Estonian Cinema (and Beyond) Eesti fi lmimaastikud. Ruumid, kohad ja paigad Nõukogude Eesti filmis (ning edaspidi) Doctoral thesis Kunstikultuuri teaduskond Kunstiteaduse instituut 2011 Estonian Cinescapes: Spaces, Places and Sites in Soviet Estonian Cinema (and Beyond) Eesti ! lmimaastikud. Ruumid, kohad ja paigad Nõukogude Eesti ! lmis (ning edaspidi) Doctoral thesis Supervisors Prof. Virve Sarapik, Prof. Mart Kalm External Reviewers Prof. Ewa Mazierska Dr. Michael Goddard Opponent Prof. Ewa Mazierska Public defence 24 August 2011 Introduction copy-edited by Richard Adang Design and layout by Andres Tali ! e research has been supported by Archimedes Foundation and the European Social Fund Target-! nanced research topic no. SF0030054s08, Rhetorical Patterns of Mimesis and Estonian Textual Culture " e Estonian National Culture Foundation © Eva Näripea, 2011 ISBN 978-9949-467-15-0 ISSN 1736-2261 Printed by Alfapress Contents Contents 5 INTRODUCTION ! Space: " e framework of analysis "# Previous research on representations of urban environments and landscapes in ! lm $% Structure and summaries $& Some conclusions and suggestions $! A VIEW FROM THE PERIPHERY. SPATIAL DISCOURSE OF THE SOVIET ESTONIAN FEATURE FILM: THE 1940s AND 1950s '! " e (new) beginning #" Film form #' Tourist gaze I: " e landscape ## Tourist gaze II: " e cityscape #& Tourist gaze III: Hygiene #( " e conquest of territories #) Centre and periphery #! Sacred lights %* Idyll and borders %" Vicious villas %$ NATIONAL SPACE, (TRANS)NATIONAL CINEMA: ESTONIAN FILM IN THE 1960s %( (Trans)national cinema &* National space &) Nation-space: Back to the past &! Conclusion (% NATURE, MOVEMENT, LIMINALITY: REPRESENTING THE SPACE OF THE NATION IN 1960’s ESTONIAN CINEMA (! Introduction )" Movement/liminality: From the centre to periphery and beyond )( Conclusion !% FILM, RUUM JA NARRATIIV: “MIS JUHTUS ANDRES LAPETEUSEGA?” NING “VIINI POSTMARK” / FILM, SPACE AND NARRATIVE: ‘WHAT HAPPENED TO ANDRES LAPETEUS?’ AND ‘THE POSTAGE-STAMP OF VIENNA’ "*" Narratiiv ja esitus. Seoseid nõukogude uue laine ! lmikunstiga "*% Filmi ruum ""' “Mis juhtus Andres Lapeteusega?”: ruumid ja tegelased ""# Eva Näripea 6 Estonian Cinescapes Eesti filmimaastikud “Viini postmark” ja arhitektuursed opositsioonid "") Summary "$" SPOJRZENIE TURYSTY JAKO STRATEGICZNE NARZĘDZIE PRZEDSTAWIENIA ARCHITEKTONICZNEGO: STARÓWKA TALLIŃSKA A SOWIECKI MARKETING TURYSTYCZNY W LATACH SZEŚĆDZIESIĄTYCH I SIEDEMDZIESIĄTYCH XX WIEKU "$% TOURIST GAZE AS A STRATEGIC DEVICE OF ARCHITECTURAL REPRESENTATION: TALLINN OLD TOWN AND SOVIET TOURISM MARKETING IN THE 1960s AND 1970s "'( NEW WAVES, NEW SPACES: ESTONIAN EXPERIMENTAL CINEMA OF THE 1970s "#( Introduction "#! Stagnation and innovation "#! Form: Image, narrative, space "%$ Spaces and places: From Stalinist fantasy to experimental ferment "%! Endless Day: " e expansion of Tallinn on ! lm "&" Haptic spaces, dialogic selves "&% Retreat "&! Conclusion "(" ALIENS AND TIME TRAVELLERS: RECYCLING NATIONAL SPACE IN ESTONIAN SCIENCE-FICTION CINEMA "(( Between modernist mnemoscapes and postmodernist mythoscapes ")# Aliens and time travellers: A critique of late socialism ")! Conclusion "!" POSTCOLONIAL HETEROTOPIAS IN MAREK PIESTRAK’S ESTONIAN CO-PRODUCTIONS: A PARACINEMATIC READING "!% Socialist science ! ction and postmodern heterotopias "!! Postcolonial critiques $*& Conclusion $*! FROM NATION-SCAPE TO NATION-STATE: RECONFIGURING FILMIC SPACE IN POST-SOVIET ESTONIAN CINEMA $"' Introduction $"% Negotiating space: Soviet-scape and nation-scape $"& Contents 7 From nation-scape to nation-state $"( From time-image to movement-image: dri( ers and mobsters $$* Eesti ! lmimaastikud. Ruumid, kohad ja paigad Nõukogude Eesti ! lmis (ning edaspidi) Resümee $$( Bibliography $&" Introduction 9 Introduction " e Estonian ! lmic ! eld is, to a large extent, unmapped territory. Almost a century has passed since the ‘o) cial’ birth of Estonian cinema, yet a ‘canonical’ narrative of its history still remains to be constructed and published. Even though several local ! lm critics and lately also a number of native and foreign scholars have worked on various aspects and periods of Estonian cinema,1 its domain continues to be severely under-researched. " is study focuses largely on the productions of the Soviet period and mainly on narrative cinema, because the latter, I believe, forms the backbone of any full-* edged (national) ! lm culture, and the Soviet era saw the establishment of a multifaceted and advanced system of ! lmmaking in Estonia.2 While shaped and * avoured by a certain ideology, its results form a considerable part of the local ! lm history and, importantly, of the broader domestic cultural heritage. On the whole, although with a few notable exceptions, Soviet Estonian ! lm has been frequently and unjustly overlooked, as a ‘cultural orphan’, leaving an enormous lacuna in the collective cultural consciousness. I embarked on my project with the objective of ! lling in some of the gaps by study- ing spatial representations in Soviet Estonian cinema, motivated by the assumption that investigating aspects of non-verbal (and thus frequently non- or loosely scripted) mate- rial might provide fresh insights into both the narrative and discursive layers of a cinema which has been too o( en neglected as ‘alien’ territory. " e initial interest in portrayals of urban and manmade environments was soon complemented by the need to look at ! lmic space in a much broader framework of spatiotemporal structures, in terms of city-, land- and mindscapes, scrutinizing not only aspects of setting, various cinematic techniques, narrative devices etc., but also issues of identity and history, power and sub- version, and national (and transnational3) cinema. In short, it quickly became clear that 1 Of crucial importance in forming the bricolage of Estonian ! lm history are the (mainly journalistic) writings of Tatjana Elmanovitš, Ivar Kosenkranius, Õie Orav, Veste Paas, Jaan Ruus and Valdeko Tobro from the Soviet period, which also cover, to some extent, earlier decades and stretch in some cases into the 1990s and beyond, as well as the works of Lauri Kärk (see e.g. Kärk 2000), Peeter Linnap, Tiina Lokk, Jaak Lõhmus, Olev Remsu, Peeter Torop and Aune Unt, who form the ‘middle generation’ of local ! lm critics and scholars. Of the work of local critics, Annika Koppel’s recent book on Arvo Kruuse- ment’s legendary ! lm trilogy (Koppel 2010) and Paavo Kangur’s book on Grigori Kromanov’s equally legendary ! lm ! e Last Relic (2011) continue this long tradition of journalistic accounts, which need to be supplemented with more in-depth analyses. Of younger academics, the research by Kaire Maimets- Volt, Mari Laaniste and Andreas Trossek continues to provide new insights into Estonian ! lm music (Maimets 2003 and Maimets-Volt 2009), animation and contemporary cinema. Ewa Mazierska has written several perceptive essays on post-Soviet Estonian ! lm, introducing the illuminating perspective of the ‘outsider’. " e same could be said of the Canadian researcher Chris J. Robinson, whose book-length study on Estonian animation was ! rst published in English as Between Genius & Utter Illiteracy: A Story of Estonian Animation (2003), and translated into Estonian only in 2010 (see Robinson 2010). 2 It is also true, however, that the onset of World War II and the Soviet occupation cut short the develop- ment of ! lm culture in the independent Estonian Republic of the interwar period, dismantling, to a large extent, what had been achieved previously. 3 I understand transnationalism in the context of Soviet cinema, ! rstly, to be a method of comparative analysis (cf. Bergfelder et al. 2007) which emphasises cross-cultural dialogues instead of isolation, and goes beyond the viewpoint of colonialism as a victim discourse, referring to a more complex set of Eva Näripea 10 Estonian Cinescapes Eesti filmimaastikud the principal goal of my investigation – to chart the terrain of spatial representations of Soviet Estonian cinema – had to be expanded, in order to map Soviet Estonian cinema in a much more general sense. " us, what started out as a project on ! lm architecture, turned into the rather ambitious task of (re)writing the (his)story of national cinema from the perspective of spatial representations. By analysing ! lm settings, their relations with characters and narratives, their presentations by means of cinematic techniques (cinematography, editing and sound) and some of their extratextual connotations, it became quite apparent that Soviet Estonian ! lm, despite its unpopular status with native audiences,4 was in actual fact intimately tied to the project of constructing and negotiat- ing national/local identity(-ies), articulating collective dreams and social anxieties, and conveying intricate strategies of suppression, resistance and adaptation, although not always successfully in terms of communicating them to contemporary spectators. As Tiina Lokk (2003: 15) has aptly noted, this mode of negative reception was e, ectively shaped by local ! lm critics in the 1960s, many of whom judged screen adaptations of Estonian literary classics unfavourably as compared to the source material, thus initiat- ing a long tradition of prejudiced public opinion. It is also true that the prevailing atti- tudes and identi! catory patterns of local ! lm spectatorship were fashioned, to a great extent, by the general perception that ! lms seemed
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