18.11.2016 — 20.11.2016

16:55             16:55


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On November 18 and 20, at Oleksandr Dovzhenko National Centre, will be completed season of the series of lectures on cinema KULTURFILMFemme Mute. The fall season of lectures and screenings is dedicated to the image of woman in the cinema of the 1920-s – early 1930-s.


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.


The Femme Mute 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.

Admission to all events is free of charge


Accreditation of media representatives: pr@dovzhenkocentre.org


November 20, 18:30Oleksandr Dovzhenko National Centre (Vasylkivska Street)

LectureA Happy Performative Marriage 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.


November 18, 18:30CLOSER (31 Nyzhneyurkivska Street, Kyiv)

LectureBody Language of Movie Stars Before and After 1917 

SpeakerOksana Bulhakova

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.

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