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Kerli Kirch Masters Thesis 2014 THE “CLOSED WORLD” OF THE EXOTIC LEELO SINGERS: THE REPRESENTATION AND RECEPTION OF THE TITLE CHARACTER AND OTHER SETO WOMEN IN THE FILM TAARKA by Kerli Kirch A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts & Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL August 2014 Copyright by Kerli Kirch, 2014 ii! ACKNOWLEDGEMENTS The author would like to express her sincere gratitude to her thesis advisor, Dr. Christine Scodari, and the thesis committee members, Dr. Becky Mulvaney and Dr. Susan L. Brown, for their encouragement, determination, and patience during the writing of this thesis. The author also wishes to thank the professors who have mentored her throughout her academic career including Dr. Noemi Marin, Dr. David Williams, Dr. William Trapani, Dr. Shara Pavlow, Dr. Patricia Darlington, Dr. Fred Fejes, and Dr. Nannetta Durnell-Uwechue. Special thanks for the Estonian supporters, Dr. Linnar Priimägi, Dr. Evar Saar and Mariko Faster, whose knowledge and advice helped the author to start her research on minority culture’s media representation in Estonia. Last but not least, the author would like to thank her family and friends for their everlasting encouragement, support, and inspiration. iv! ABSTRACT Author: Kerli Kirch Title: The “Closed World” of the Exotic Leelo Singers: The Representation and Reception of the Title Character and Other Seto Women in the Film Taarka Institution: Florida Atlantic University Thesis Advisor: Dr. Christine Scodari Degree: Master of Arts Year: 2014 This thesis utilizes a multi-perspectival cultural and media studies approach analyzing the production, filmic text, and reception of Taarka, the first film about Setos, that is advertised as a (docu)drama. However, the analysis shows that it can also be interpreted as an ethnographic film. It examines which intersecting identities related to Seto women are depicted in the film and whether audiences and critics recognize the power dynamics of these intersections. It also analyses how the Estonian cultural economic environment, the filmic text, audience comments and critics reviews reinforce or challenge hegemonies connected with these intersections. Drawing on the principles of postcolonial feminism, intersectionality, and other critical theories, the thesis concludes that even though the filmic text challenges traditional gender roles, it still reinforces the Estonians’ one-sided portrayal of an exotic, commodified Seto ethnicity. Moreover, the cultural economic environment and reception of the film also bolster this view of Seto ethnicity. v! THE “CLOSED WORLD” OF THE EXOTIC LEELO SINGERS: THE REPRESENTATION AND RECEPTION OF THE TITLE CHARACTER AND OTHER SETO WOMEN IN THE FILM TAARKA List of Figures .................................................................................................................... xi! Chapter One: Introduction ................................................................................................. 1! 1.1. Background ............................................................................................................ 1! 1.1.2. Conducted Research on Seto Culture ........................................................... 2! 1.1.3. Power Relations Within the Seto Community .............................................. 4! 1.1.4. Seto Women .................................................................................................. 5! 1.1.5. The Film Taarka ........................................................................................... 7! 1.2. Issues to address ................................................................................................... 10! 1.3. Literature Review ................................................................................................. 11! 1.3.1. Social Constructionism Theory ................................................................... 11! 1.3.2. Critical Theory ............................................................................................ 14! 1.3.3. Class Identity and Critical Class Theory .................................................... 16! 1.3.4. Ethnic Identity and Crtical Race Theory .................................................... 17! 1.3.5. Gender Identity and Feminist Theories ....................................................... 19! 1.3.5.1. Standpoint Theory .............................................................................. 21! 1.3.5.2. Intersectionality & the Matrix of Domination ................................... 23! 1.3.5.3. Post-Colonial Feminism .................................................................... 25! 1.3.5.4. Feminism in Estonia .......................................................................... 28! vi! 1.3.6. Media and Cultural Studies ......................................................................... 31! 1.3.6.1. Feminist Cultural Studies ................................................................... 34! 1.3.6.2. Post-Colonial Cultural Studies ........................................................... 34! 1.3.7. Ethnographic Film and Docudrama in Film Theory ................................... 35! 1.4. Methodology ........................................................................................................ 39! 1.4.1. Production Analysis .................................................................................... 40! 1.4.2. Textual Analysis ......................................................................................... 41! 1.4.3. Reception Analysis ..................................................................................... 42! 1.5. Chapters’ Layout .................................................................................................. 44! Chapter Two: Production Analysis ................................................................................... 45! 2.1. The Estonian Cultural Economic Environment ................................................... 45! 2.1.1. Funding of Taarka ...................................................................................... 46! 2.1.2. Distribution of Taarka ................................................................................ 50! 2.2. Interviews with the Filmmakers ........................................................................... 51! 2.2.1. Taarka as an Ethnographic Film ................................................................. 52! 2.2.2. Taarka as a Woman ..................................................................................... 54! 2.2.3. Representing Setos in Taarka ..................................................................... 55! Chapter Three: Textual Analysis ...................................................................................... 58! 3.1. Taarka as the Other in the Seto Community ........................................................ 59! 3.1.1. The Intersecting Oppressions of Gender and Class .................................... 60! 3.1.1.1. “How’s a girl supposed to get married without adornments?” .......... 60! 3.1.1.2. “I was mocked because of her!” ........................................................ 64! 3.1.2. The Intersecting Oppressions of Ethnicity and Gender .............................. 66! vii! 3.1.2.1. “But she’s strange blood from her father’s side.” .............................. 66! 3.1.3. The Intersecting Oppressions of Class & Ethnicity .................................... 69! 3.1.3.1. “Well, your mother is Vassilissa. She won’t keep home.” ................ 69! 3.1.4. Challenging the Hegemonies of Gender, Class, and Ethnicity ................... 70! 3.1.4.1. “I’ll drown myself to the river rather than marry some jerk.” ........... 70! 3.1.4.2. “Singing mother” ............................................................................... 74! 3.1.5. Reinforcing the Hegemonies of Gender, Class, and Ethnicity ................... 76! 3.1.5.1. Punishment and Regrets ..................................................................... 76! 3.1.6. The Construction of the Film ...................................................................... 79! 3.2. Setos as the Other in Estonian Society ................................................................ 82! 3.2.1. The Film’s Critique of the Outsider’s Representation of Setos .................. 83! 3.2.2. Seto Ethnicity’s Subordination ................................................................... 85! 3.2.2.1. “God forbid” for Being a Seto ........................................................... 85! 3.2.2.2. “Even Estonian women don’t have them that big.” ........................... 87! 3.2.3. Reinforcing Seto Stereotypes ...................................................................... 89! 3.2.3.1. “Noble savages” ................................................................................. 89! 3.2.3.2. “I’ll pour you a drop, too.” ................................................................. 91! 3.2.3.3. Feckless Seto Men and Vigorous Seto Women ................................. 92! 3.2.4. The Intersection of Gender and Ethnicity ................................................... 94! 3.2.4.1. The Forced Indigenous Seto Cultural Identity ................................... 94! Chapter Four: Reception Analysis .................................................................................... 97! 4.1. Critics’ Reviews Analysis ...................................................................................
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