Dovzhenko Studio in the 1960s: Between the Politics of the Auteur and the Politics of Nationality

Abstract

This article examines the aesthetics and politics of filmmaking in Soviet Ukraine in the 1960s as a lens through which to view the mechanisms of defining and representing national difference in Thaw-era Soviet culture. Management at Dovzhenko Studio in Kyiv during this time gave a green light to young filmmakers to explore a modernist and ethnographic poetic by reasoning that such a style was rooted in the traditions of Ukrainian national cinema, the founder of which was the studio’s namesake, Oleksandr Dovzhenko. While always controversial, director-auteurs such as Sergei Paradzhanov, Iurii Illienko, and Leonid Osyka consistently justified their works of “poetic cinema” on the basis of fulfilling the studio’s explicit goal to represent Ukraine through “traditional” means. Kyiv filmmakers, however, found their freedom curtailed not solely by central authorities concerned with ideological problems, but also by a film industry increasingly concerned with its ability to make a profit. Today in Ukraine, the legacy of so-called poetic cinema is fraught with accusations of elitism as the purveyors of cultural memory try to uncover a more popular history of Ukrainian cinema.     

Filming a Stalinist War Epic in Ukraine: Ihor Savchenko’s The Third Strike

Abstract

The article examines the production history of Ihor Savchenko’s film Tretii udar [The Third Strike, 1948], a World War II epic and the most significant project of the Kyiv Film Studio in the first post-war years. Using the example of The Third Strike, the author demonstrates how Stalinist cinema as an institution influenced Soviet film directors’ thematic and ideological choices as well as their style. Specifically, the supervision of such projects by the USSR’s political centre served to integrate Ukrainian film makers into Soviet cinema by fostering Soviet versions of the country’s political and social history and by preventing Ukrainian film makers from pursuing stylistic practices that might have become foundational to Ukrainian cinema. Filming a Stalinist war epic in postwar Ukraine was especially difficult in view of the Soviet struggle against Ukrainian nationalism. By featuring soldiers of different nationalities, The Third Strike underscored the idea of the “fraternal friendship of the Soviet peoples” during the war, which became a canonical element in Soviet depictions of the war. In this way, Ukrainian artists ingratiated themselves with the Soviet authorities and proved their loyalty to Russia.     

On the Ukrainian Cinematic Tradition,the Dovzhenko Film Studio,and Ivan Mykolaichuk

Abstract

This article discusses the Ukrainian cinematic tradition as established by Oleksandr Dovzhenko in the 1920s and 1930s and revived at the Kyiv Film Studio during the short-lived renaissance of Ukrainian cinema between 1964 and 1972. The author focuses on the three figures that led national cinema out of its provincial dead end: the film directors Volodymyr Denysenko and Sergei Paradzhanov, and the actor Ivan Mykolaichuk. The author discusses their films Son [The Dream, 1964] and Tini zabutykh predkiv [Shadows of Forgotten Ancestors, 1964] as best representing the turn from theatrical adaptations of literary classics to their creative cinematic rethinking. Mykolaichuk’s acting style matched this new trend perfectly because he was a carrier of the folk tradition that the two directors were seeking to harness for new ways of artistic expression.     

Language,Class, and Nation in a Soviet Ukrainian Blockbuster Comedy: Chasing Two Hares (1961)

Abstract

The subject of this article is one of the most popular comedy films of the late Soviet period, Za dvoma zaitsiamy [Chasing Two Hares]. Made at the Kyiv Film Studio in 1961, it was originally a Ukrainian-language film based on Mykhailo Staryts'kyi’s eponymous 1883 play that satirized pretentious upstarts eager to assimilate into Russian culture. However, the completed film was dubbed into Russian and released throughout the Soviet Union in the Russian version. The change of language reversed the meaning of the film’s satire, turning the movie into a harmless folkloric comedy that reinforced imperial cultural hierarchies rather than undermining them.     

History,Politics, and the Cartography of Sexed Bodies in Iurii Illienko’s A Prayer for Hetman Mazepa

Abstract

This article explores the “corporeal” dimension of Iurii Illienko’s reconstruction of cultural and historical discourses in the 2002 film Molytva za het'mana Mazepu [A Prayer for Hetman Mazepa], which focuses on the hetman’s drama, his relationship with Peter I, and the defeat of Swedish and Ukrainian joint forces at the Battle of Poltava in 1709 that signified Ukraine’s submergence into a supranational, imperial community. Illienko’s cinematic space, in which plots of history and sexual politics are mapped onto one another, allows for conceptualizing the body as a site of political and cultural construction, contestation, and radical resistance. Demanding an intertextual approach that involves an open exchange between his cinematic domain and a “universe” of intersecting historical, cultural, ideological and political discourses, his multilayered re-memoration strategies expose both the fictionality and the political dogma surrounding the inherited mythologies. As a decentred reflection of the past, the film poses critical questions about competing histories and the dynamics of historical agency in colonial and postcolonial contexts, thus making a contribution to the protracted process of decolonization in Ukraine.     

The Pleasures and Problems of Leonid Osyka’s Zakhar Berkut: Poetic Cinema and Its Limits

Abstract

This article discusses the aesthetic and sociopolitical contexts of Zakhar Berkut, a 1972 film by the Ukrainian director Leonid Osyka, one of the leading figures of Ukrainian poetic cinema. An ambitious adaptation of a canonical nineteenth-century historical novel by Ivan Franko, it was conceived as the first big-budget Ukrainian historical film since World War II. An unusual and controversial hybrid of poetic cinema techniques and mainstream filmmaking oriented towards a mass audience, it became the last work of Ukrainian poetic cinema released before a severe state-sponsored crackdown brought the heyday of this film school to an abrupt end.     

Signifyin' Cinema: Rudy Ray Moore and the Quality of Badness

This article engages the limits of both film and race studies in their approach to heterogeneous and “low” forms of African American cultural production through an analysis of the films of Rudy Ray Moore. While Moore’s films have been almost entirely overlooked in both film studies and black studies, they were extremely popular among black youth of the 1970s and have exerted a powerful influence on today’s hardcore hip hop artists (and their understanding of how to turn black market entrepreneurship into global enterprise). The theory of “signifying”, advanced most rigorously by black literary theorist Henry Louis Gates Jr, helps explain how and why Moore has slipped through various critical nets — and grounds a claim for why we should take “bad” black film seriously. Close film and context analysis illustrates how Moore’s low‐budget films “signify” on Hollywood and the system of expectancies that go with putatively “good” filmmaking and reveals the extent to which they constitute a hybrid cultural and multimedia practice. As vehicles designed to elaborate on the badman of black folklore, Moore’s films contribute to the long history and rich language of “toasting” in African American oral culture and music. As such, far from being emblematic of black filmmaking’s impoverished relationship to mainstream cinema (as a cinema manqué), these films constitute vital precursors to the hip hop music video.     

Of Monsters and Men: Horror Film in Belarus,Ukraine, and Russia

Abstract

This article looks at recent horror films from Belarus, Ukraine, and Russia through the notion of “cultural translation.” It argues that these films both mimic Hollywood horror tropes and subvert genre formula via engagement of local history and memory. Horror films, therefore, represent both the cinematic and cultural concerns of their times, reflecting the changing globalized realities of cinema as a medium, and the social and political dilemmas their viewers face beyond the movie theatre. The results are hybrid texts that engage the viewer in the polyphony of intertextual, global, and local connections.     

Olympic Films and Public Memory

How is our memory of mega‐events structured? This article investigates the relationship between cinema and the Olympic Games. To this end, it first unravels the historical origins of the strong link between the two, as both are symbolic products of the 20th century. The Olympics reaffirm the image of the modern nation‐state; the cinematic medium visually represents the Games as spectacle. Leni Riefenstahl's film, Olympia (1938), recorded at the 1936 Berlin Olympic Games, supplies the most enduring imagery of this type. In addition to Riefenstahl's thoughts and methods, this study delves into Kon Ichikawa's Tokyo Olympiad (1965), which was influenced by Olympia. Ichikawa's film, which reflects his artistry and showcases his various skills, won critical acclaim and, intriguingly, precipitated the “document or art” controversy that involved the Japanese state and the mass media. Whether document or work of art, this film has supplied the public with imagery for the 1964 Tokyo Olympic Games—various images that most of us recognize—and thereby played a key role in constituting our memory of them. Therefore, our experience of the Games is a mediated experience through the construction of our public memory. Our memory culture is composed of “prosthetic memories” that are technologically assembled through cinema and act as Freudian “screen memories.”     

Nikolai Gogol'’s Self-Fashioning in the 1830s: The Postcolonial Perspective

This study examines Gogol'’s complex self-fashioning during the time of the creation and reception of his Ukrainian tales Vechera na khutore bliz Dikan'ki [Evenings on a Farm near Dikan'ka] (1831–1832) in light of the postcolonial concept of mimicry. Gogol'’s self-fashioning is studied through his submission to the symbolic power responsible for branding him as the Other in imperial Russian culture, as well as through his deliberate strategy of mimicry. Not only did Gogol'’s marginal social status and his Ukrainian ethnicity create a social hierarchy responsible for fashioning him as “an outsider within” imperial culture, Gogol' himself engaged in the colonial mimicry, trying to reverse the colonial gaze that imagined him as a “sly” Ukrainian. Challenging the accepted view of Gogol' as one who internalized the colonial stereotype of a “sly” Ukrainian, this study treats Gogol'’s identity as strategic, positional, and ambivalent. The first part of the study focuses on the manipulation of stereotypes of the Other within the Russian nationalist imagination in the early 1830s; the second part examines Gogol'’s ambivalent visual self-representation and social performance that simultaneously mimicked and menaced the colonial authority.     

Running in Circles: My Best Friend’s Wedding After 19 Years

ABSTRACT

This essay revisits My Best Friend’s Wedding (Hogan, 1997) 19 years later. It compares its way of combining laughter and tears with 2 genres of literature: Marivaux’s (1964) 18th-century comic theatre and the 19th-century novel of adultery, with its overtones of classical tragedy. In each, an outsider observes, envies, and seeks to destroy a “happy couple”: the 2 genres end, respectively, in a wedding or in death. How do 3 women view this film, and its ending, in 2016?     

The Ukrainian reading public in the 1920s: real,implied, and ideal

The reading public was discussed in the Soviet Ukrainian press during the 1920s, at a time when the drive to eliminate illiteracy and implement Ukrainization was scoring increasing successes. Sociological studies of the “real” reader indicated strong preferences for pre-revolutionary authors and foreign writers in translation. Under pressure from Moscow, in the late 1920s Mykola Skrypnyk, the Commissar for Education, and the literary theorist Kost' Dovhan' changed the rhetoric advocating Ukrainization, stressing its proletarian content. They supported the concept of an “implied” working-class reader who read Ukrainian and was simultaneously committed to developing socialism and a “proletarian” culture. However, many sophisticated writers pitched their work to an “ideal” reader, whom they imagined as the end-product of Ukrainization – a culturally literate, urban, and critically thinking consumer. The three ways of conceptualizing the consumer clashed, as the Ukrainization policy went through two major shifts during the period of the first five-year plan (1928–33). Ideologists, educators, and writers adapted to these shifts by redefining the way they conceptualized the reader.     

Racializing Redemption,Reproducing Racism: The Odyssey of Magical Negroes and White Saviors

Recent research on the intersection of race and media describes a trend of progressive, even antiracist, narratives that showcase close inter‐racial friendships and camaraderie on the silver screen. Films in which one character saves or helps another from some unholy or disastrous plight are common in films like The Green Mile (1999), Bruce Almighty (2003), Amistad (1997) and The Blind Side (2009). While these films present a stark change from the patently racist and on‐screen segregationist history of Hollywood cinema, these films often trade on racist meanings and expectations. Many of these films are what critics call “Magical Negro” or “White Savior” films – cinema in which implicit and explicit racial stereotypes are employed to structure the inter‐racial interactions where one character labors to redeem another. In comparing these two genres, this article provides an overview for how both cinematic forms reproduce racist messages by naturalizing the supposed cerebral rationality, work ethic, and paternalistic morality of select White characters while normalizing Black characters as primordially connected with nature, spiritually connected to the carnal, and possessive of exotic and magical powers. Together, these films subversively reaffirm the social order and relations of racial domination by reproducing centuries’ old understandings of racial difference.     

Frantz Fanon,poet: pleasure of the text,power of the text

ABSTRACT

Frantz Fanon’s writing represents a productive embrace of the political and the poetic. His ideas have had such a long afterlife, they live on in us, I submit, precisely because the language of their articulation, image-filled and rhythmic, is compelling. This article examines three elements of Fanonian poetics in Black Skin, White Masks: the use of metaphor and, in “By Way of Conclusion,” an ambiguous/multiple “I” as persona, and, finally, what Brent Edwards has called “anaphoric poetics,” the repetition of the same word or words at the beginning of successive phrases.     

Screening dirt: public health movies in colonial Nigeria and rural African spectatorship in the 1930s and 1940s

Abstract

From the inception of colonial film-making in British West Africa in the early 1930s, dirt and the cinema were closely connected. Numerous educational movies were produced to show Africans the economically, physically and morally degrading consequences of “dirty habits.” By the early 1940s, the Colonial Office had come to realise that, within the cinema spaces created by mobile health units across Africa, intended audiences processed images and messages through their own aesthetic, spiritual, moral, economic and political value systems. These systems exceeded colonial projections and defied assimilation into colonial categories of dirt. This article focuses on the complexity of intended audiences’ responses to the simple ideological formula of colonial health and hygiene films. It argues that the presence of local aesthetic tastes and values in media archives on public health and hygiene in colonial Africa represents a vital space of mediation that must be considered alongside film content and film-makers’ intentions.     

The Ghost of Grandeur

Abstract

Carsten Meiner analyses a series of classic French films, from Truffaut to Haneke, and their uses of the home with respect to the relation between grandeur and individuality. Homes thus become problematizing mediators between individuals and national grandeur, and together the films form a historical series of quite consistent albeit surprising articulations of the metabolism of life in national grandeur. This focus on the home leads to reflections on the problems of the idea of “represented nationalism” in cinema.     

Poetry of the Swamp: Blok’s “Folks” Cycle Bubbles of the Earth

Gogol'’s “A Few Words about Pushkin” has traditionally been viewed as evidence that Gogol' idolized Pushkin as a national poet par excellence. This article argues that behind Gogol'’s deference for Russia’s greatest poet lie layers of polemic and subversive iconoclasm. Though he initially proclaims Pushkin Russia’s national poet, Gogol' goes on to use his trademark rhetorical tools to effectively strip the poet of the honour. In doing so, he attempts to influence the reception of his own writings, which at the time predominantly concerned Ukrainian themes, in ways that would encourage his Russian audience to consider him—and not Pushkin—as Russia’s premier national writer. Countering Pushkin’s Russocentric model of national culture, Gogol' champions instead a centrifugal conception of national-imperial identity that places Russia’s imperial periphery at the center of the “Russian” experience.     

Andrii Liubka’s Carbide: Ukrainian democratic reforms through a dark glass

ABSTRACT

The Revolution of Dignity in Ukraine and its reforms are the topics of Andrii Liubka’s novel Karbid (Carbide, 2015). Employing Voltairean laughter and neo-Gothic aesthetics, Liubka presents the idea of European integration (one of the expected outcomes of the reforms) implemented practically by the corrupt elites of the imagined Transcarpathian town of Vedmediv as a money-laundering enterprise – an underground tunnel for smuggling drugs and people’s organs from Ukraine to Europe. The author proposes that the elites – most of whom are criminals – personify Julia Kristeva’s concept of abjection in the novel and represent social spheres that need reform. Contrary to the Euromaidan goals, these comprador elites desire even stronger borders between Ukraine and the European Union, as these facilitate their shadow economy, and they subject the local population to economic and social decline, turning them into disposable human waste. By applying the concept of abjection in its psychoanalytic and social forms to Liubka’s tragicomic novel, the author argues that his text points to Ukraine’s struggle to define itself as “West” and shed its totalitarian legacy of the Soviet “East,” and brings attention to the conflict between the post-Euromaidan national strivings of Ukraine’s citizens and the rampant corruption that negates their efforts.     

Sunrise,America, and the Other Side

Abstract

The following essay employs the metaphor of 'the other side' in order to explore the symbolic relationship between America and Europe in F.W. Murnau's Sunrise (1927). The essay argues that the film's symbolic stress on the dichotomy of Europe/America and there/not there rearticulates the role of the US in the immigrant imagination, redefining it in terms of the supernatural, almost deathly nature of early film. The journey west has long been equated with the mythical passage toward death, and in a similar way early responses to the mechanics of cinema also stressed the idea of film as phantasmal projections of this 'other side', a spectral realm haunted by ghosts, apparitions, and shadows. The paper thus positions theoretical notions of negative space (dealing in particular with Jean-Paul Sartre's notions of presence and absence) alongside the notion of the Atlantic crossing as a synonym for emptiness and vacuity, in order to provide a provocative interpretation both of Murnau's film and of the role of America in the European mindset.     

The Dramaturgical Model of Behavior: Its Strengths and Weaknesses*

By means of the dramaturgical model we freshly illuminate social behavior as role-like “performances” in which persons manage the impressions that others get of them. This impression management involves the concealment of data in a “dramatic” struggle with those others who wish to penetrate one's “mask.” But the chief limitations of the dramaturgical model are that it excites the invalid inferences that offstage “roles” are more like stage actors' roles than they really are, and that the person is nothing but these “roles.” The differences between onstage and offstage behavior are kept in view when the metaphorical concept of “role playing” is re-connected to its source in role playing onstage. Through an analysis of theatre and the concepts of appearance and time we conclude that while we must appear to others in a “role-like” way offstage in order to be ourselves, we are nevertheless involved in world-time offstage in a way that fundamentally distinguishes our “role-playing” from an actor's role playing. We are our “roles”, but not just our “roles.”