Kino and the Woman Question: Feminism and Soviet Silent Film by Judith Mayne

By Judith Mayne

This can be a learn of Soviet silent motion pictures by way of their realizing of the location of ladies inside socialist tradition. The argument is made that the illustration of ladies in such motion pictures subverted their ostensibly elementary ideological and cinematic objectives.

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By Judith Mayne

This can be a learn of Soviet silent motion pictures by way of their realizing of the location of ladies inside socialist tradition. The argument is made that the illustration of ladies in such motion pictures subverted their ostensibly elementary ideological and cinematic objectives.

Show description

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Extra info for Kino and the Woman Question: Feminism and Soviet Silent Film

Sample text

Montage became the quintessential tech­ nique of an art form devoted to dynamic m o v e m e n t and dialectical tension. 36 Whether by fragmenting a scene into its constituent parts, or by creating unexpected juxtapositions of images, montage d e m a n d e d active engage­ ment of its viewers. Pudovkin described this process as one of the most distinct features of the cinema: The cinema is in a sense a potential mirror, directly representing events in the wholeness of their dialectical complexity.

2 The physician refuses to see the infected meat for what it is, thus contributing to the absolute division between the truths of the oppressed versus the lies of the oppressors. The w o m ­ an's blindness is of another kind, for she naively and foolishly believes that the soldiers can be reasoned with, and leads a small delegation of w o m e n and elderly m e n up the steps. For m e n and w o m e n in Potemkin, cinematic figures operate in fun­ damentally different ways. Whether it is metaphoric or m e ­ tonymic, the pince-nez belonging to the physician is a cine­ matic figure in the narrowest sense, a figure that removes one momentarily and abruptly from the diegesis of the film.

However, By the Law is a striking example of the ways in which strategies of cinematic adapta­ tion also would be determined, even if somewhat more subtly than is the case with Eisensteinian montage, by sexual dynam­ ics. By the Law suggests some fundamental ways in which Soviet narrative film would engage with other narrative forms, and h o w issues of gender are central to these narrative explorations. " T h e title of London's story refers to the forces which occur without logical or foreseen predictability.

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