On October 17,at Oleksandr Dovzhenko National Centre, starts a new season of the series of lectures on cinema KULTURFILM: FemmeMute. The fall season of lectures and screenings is dedicated to the image of woman in the cinema of the 1920-s – early 1930-s.
Within a series of lectures and musical cinematic performances, which will be held in October and November, the guest female film experts and researchers will try to answer the question whether the visual media of the period had an established “women’s view” of a woman and whether she has received her own voice in cinema and in the society 120 years after the first appearance of a woman on the screen.
KULTURFILM is Dovzhenko Centre’s traditional educational program of lectures on cinema, whose format is beyond the academic cinema education and considers cinema in its social, cultural and historical dimensions. This interdisciplinary initiative combines cinephile experience with analytical – thematic retrospectives of films with their critical analysis in the form of lectures by Ukrainian and foreign cinema experts, historians, philosophers and culture scholars.
TheFemmeMute project explores representation of a woman in Ukrainian cinema, analyzes the view of a woman in a particular historical period and how it changed with time, as well as examines the attitude towards gender distribution in the society.
The project KULTUREFILM: Femme Mute is supported by Rosa Luxemburg Stiftung in Ukraine.
Venue: Oleksandr Dovzhenko National Centre, 1 Vasylkivska Street, Holosiivska metro station
Lecture: A Right to a Woman – a Right to a Paranja
Screening: A Right to a Woman (1930), dir. Oleksiy Kapler
Music: Dmytro Prutkin (DJ-set)
In her part of the lecture, Maryna Voronina will talk about the origins of the Soviet feminism, whose important aspect was women’s career guidance. During the lecture you will learn how women got medical degrees before and after the revolution, what a person’s biography was in the 1920s-1930s – a formality or a survival strategy. Drawing on the example of the Oleksiy Kapler – Mykola Bazhan tandem, students will be explained the intricacies of creativity / opportunism in the times of totalitarianism.
Olha Labur will continue the lecture by offering an attempt at historical, ideological and psychological reconstruction of the “spirit of the times” of the film A Right to a Woman. The scholar will consider the opposites of “progressive” / “backward”, “equality” / “inequality”, “emancipated” / “discriminated” as political tools and language practices. And finally, she will talk about the fate of the film after its release in theaters, the mechanics of historical memory and the specifics of the political environment.
Maryna Voronina is a Board member of the Ukrainian Association for Research in Women's History (UARWH), a Candidate of Historical Sciences, a Senior Lecturer in History at Kharkiv H. S. Skovoroda National Pedagogical University. Lives and works in Kharkiv. Since 2000, has been exploring the issues of women and gender within historical anthropology. Research interests: gender policy of the Soviet power in the 1920s-30s, the development of women's movement in the early ХХ century.
Olha Labur is Vice President of UARWH, a Candidate of Historical Sciences, a Senior Lecturer in History of the Department of Sociology and Law at the National Technical University of Ukraine “Kyiv Polytechnic University”, Deputy Director for International Relations of the Ukrainian Gender Education Centre at NTUU “KPU”. Research interests: source studies and historiography of the twentieth century women’s history, in particular of the first decades of the Soviet rule in Ukraine.
UkrSSR, Ukrainfilm (Kyiv), 39’
Starring: Tetiana Zlatohorova, Volodymyr Sokyrko, Ivan Skuratov, Tetiana Mukhina
A Right to a Woman is a rare example of an urbanist film in the fictional film genre, the script to which was co-written by Kapler and the editor of the revolutionary for its time magazine Kino, translator and avant-garde poet Mykola Bazhan.
One day, the film’s main character decides to change the patriarchal pattern of her family life – she leaves her husband and, taking their young son with her, goes to the city to study in a medical school. Active student life turns out to be hard with a child on her hands. The tragic fate of her son only convinces the woman to carry on along the chosen path – she becomes a professional doctor and saves lives of other children.
Dmytro Prutkin is a Kyiv DJ and music collector, who at the first event of KULTURFILM: Femme Mute will assume the role of accompanist, but in a modern interpretation.
November 20, 18:30, OleksandrDovzhenkoNationalCentre(1 VasylkivskaStreet)
Lecture: AHappyPerformativeMarriage of Communism and Feminism in the USSR
Speaker: Iryna Zherebkina
Screening: Dzhalma (1928), dir. Arnold Kordium
Music: Hanna Bryzhata
During the lecture, Iryna Zherebkina, using the heroine of the film Dzhalma as an example, will look at the image of a Soviet Ukrainian feminists and will talk about the tradition of Soviet feminism after 1917, which was characterized by the performative understanding of gender, which, unlike the western feminist theory, is described not through biological essentialism but through the establishment of gender connections with social statuses and roles. In the context of decommunization in modern Ukraine, when all of the country’s problems are believed to be brought about by its Soviet past, in Dzhalma we see the practices of direct democracy in a Ukrainian village.
Iryna Zherebkina is Doctor of Philosophy, Professor at the Department of the Theory of Culture and the Philosophy of Science; Director of Kharkiv Center for Gender Studies (since 1994); Head of the Laboratory of Gender Studies of the Department of the Theory of Culture and the Philosophy of Science (since 1996); Director of the International Institute of Summer Schools in Gender Studies in Foros (since 1997); Chief Editor of Gender Studies magazine (1998); Director of the project University Network on Gender Studies for the Countries of the Former Soviet Union (1998); member of the Specialized Academic Council on the Defense of Dissertations in Sociology at V. N. Karazin KNU.
DZHALMA (1928), dir. Arnold Kordium
1928, UkrSSR, VUFKU (Kyiv), 50’
Written by Arnold Kordium, Vadym Okhrimenko
Cinematographer: Yan Kravskyi, Yurii Tamarskyi
Production designer: Vasyl Krychevskyi
Starring: Lidiia Ostrovska-Kordium, Ivan Kononenko-Kozelskyi, Mykola Braterskyi, V. Krytskyi, D. Liubchenko.
In the Caucasus, among the picturesque mountains, goes on a guerrilla war between the White Guardists of Bicherakhov Division and the Red Army. A Chechen girl Dzhalma finds a wounded Ukrainian Mykola in a gorge. She saves his life and helps him recover. The young people fall in love, and after the victory of the Bolsheviks they go together to Ukraine. As a result, Dzhalma ends up in a traditional Ukrainian village. Not everyone is happy about the arrival of a stranger or about Mykola’s initiatives on the implementation of collective farms and mechanization of the village. Dzhalma finds himself trapped among religious, ethnic and patriarchal prejudices. Will she be able to find a way out?
A citizen of Odessa, Hanna Bryzhata, aka Bryozone and Anniebri, makes music in the genre of flexi-house, combining electronic samples, vocals and unexpected rhythms. For the Femme Mute project, she has written an original soundtrack to the film Dzhalma and will present her piece at Dovzhenko Center during the event.
Lecture: Body Language of Movie StarsBefore and After 1917
In the closing lecture of the fall season of Dovzhenko Centre’s educational program Kulturfilm Oksana Bulgakova will talk about the specifics of the body language of pre-Soviet and Soviet movie stars, which in the films of 1910s-20s reaches us through the prism of naturalist, decadent and Orientalist aesthetics. The film, which emerged as a mechanical method of analysis of body movements, in the early XX century retains the gestures of theatrical melodrama, conveying emotions through a special code. At the same time, the screen develops a differentiation of gestures according to social characteristics. The changes in the heroine’s body behavior are written into a novel of a career or a fall. After the revolution, these different models of body language come into unexpected combinations.
Oksana Bulgakova is Professor of Film Studies at Johannes Gutenberg University (Germany), author of a number of books on Soviet and German cinema (Sergei Eisenstein: Three Utopias. Architectural Designs for the Film Theory, 1996; The Adventures of Dr. Mabuse in the Land of Bolsheviks, 1995; Sergei Eisenstein. Biography, 1998; The Factory of Gestures, Moscow, 2005, etc.); film director (Stalin Is, 1993; The Girl Who Kissed Stalin, 1995; The Many Facets of Sergei Eisenstein, 1998), curator of exhibitions, lecturer at Humboldt University and Free University (Berlin), Stanford University and the International Film School in Cologne. In 2012 – 2013 Oksana Bulgakova received a scholarship to Stanford Humanities Center to work on the book Voice and the Traces of Time: the Russian Archive of Vocal Memory.
Oleksandr Dovzhenko National Centre is a state archive of feature films storing over 5,000 titles. It is the only associate member of the International Federation of Film Archives (FIAF) in Ukraine