A Cesspool of Intrigue: Les' Kurbas,Oleksandr Dovzhenko,and the Film Industry in 1920s Soviet Ukraine

Abstract

In the 1920s, theatre innovator Oleksandr “Les'” Kurbas (1887–1937) made three short films for the Vseukrains'ke Foto-Kino Upravlinnia [All-Ukrainian Photo-Cinema Administration] or VUFKU. His film career was short-lived, however. Lambasting the VUFKU as a “cesspool of intrigue,” Kurbas left film for good to focus exclusively on theatre. His films never gained wide release, and have since been lost. Kurbas’s brief foray into cinema could therefore be considered a non-moment, yet because Kurbas objected not to the medium itself, but to the institutions creating film, his encounter with the VUFKU illuminates the larger process of the formation of the Soviet film industry. Kurbas’s departure from film occurred simultaneously with the arrival of Oleksandr Dovzhenko (1894–1956), and their crossed paths show how the structure of the Soviet film industry shaped artistic possibilities. The institutional transformation of VUFKU into Ukrainfilm, the regional affiliate of the all-Union film monopoly Soiuzkino, signalled a cultural shift: from a film industry in Soviet Ukraine, to a Soviet Ukrainian film industry, one both part of wider Soviet cinema production and slotted specifically into a Ukrainian niche. Ultimately, this article argues that this process of consolidation and centralization in the film industry complicated the development of culture in the Soviet regions.     

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.     

Between Literary and Subliterary Paradigms: Skaz and Contemporary Russian Estrada Comedy

The present article contends that literary skaz has significantly influenced the narrative framework of contemporary Russian estrada comedy. Skaz’s “theatricality,” “orality,” ambiguous authorship, spontaneity, and “folksiness” have the potential to add a rich, conversation-like complexity to the generally non-improvisational Russian comedy performance. Skaz’s allocutional projection of the audience into a comedian’s performance also creates an illusion of mutual communication between performer and public. While relying on Bakhtin’s treatment of skazas a double-voiced narrative, I argue that skaz allows the comedian to deliver sharp social commentary through a provincial or uneducated persona. Of particular interest for this study is the practical motivation for Russian comedians to resort to the mask of skaz narrators in the 1990s, an era of seemingly open public discourse. I argue that the continuing appropriation of a written, literary text (skaz) by an oral, popular performance (estrada comedy) suggests the versatility of the literary form, while simultaneously testifying to the on-going health of the written and spoken word in contemporary Russia.     

The roots of Regina Spektor’s post-Soviet poetics

ABSTRACT

Regina Spektor’s rigorous training in piano, starting in the Soviet Union and continued throughout her youth in the United States, helps to explain her skills in composing complex and unexpected pop music. Less obvious, though, will be an understanding of the roots of her poetic skills in writing lyrics. This paper examines how Spektor was influenced by Russian bard tradition, as well as the widespread informal music dissemination network known as magnitizdat.     

Problems of Taxonomy,Issues of Class,Citizenship, Consumption,and Avdot’ia Smirnova’s KoKoKo (2012)

Sundry discussions of Russian society by scholars, journalists, and politicians suffer from imprecise taxonomy, wielding labels such as middle class, civil society, and creative class in an automatic transfer of discursive categories long defining Western societies to one at increasing odds with numerous Western values. As various surveys by Russian sociologists have indicated, a ‘middle class’ and ‘civil society’ in the traditional sense do not exist in Russia. Moreover, even ‘the intelligentsia’, as historically defined, seems to have diminished, evaporated, or emigrated. Indeed, the incisive portrayal of contemporary Russian class distinctions in Avdot’ia Smirnova’s film KoKoKo (2012) exposes the impotence of the self-serving intelligentsia, contrasted to the vitality and drive of ‘the people’, who may be the only hope for Russia’s future – neither the radiant future fantasized by the Soviet Union nor the democratic future that seemed possible after perestroika, but one that meaningful resistance to the authoritarianism of Putin’s regime will need to elaborate step by painstaking step.     

Institutional Gothic in the novels of Vladimir Sharov and Evgenii Vodolazkin

ABSTRACT

Vladimir Sharov (1952–2018) and Evgenii Vodolazkin (1964–) are among the most significant and influential writers of contemporary postmodern Russian fiction. This article argues that the subgenre of institutional Gothic – defined here as Gothic plots set in mental asylums, hospital wards, and other places of involuntary confinement – is an important structural and metafictional element in their novels. It also suggests that these authors’ use of the Gothic mode corresponds to the traditional function of Gothic narrative as a reaction to historical trauma. Each of the novels discussed here (Sharov’s Sled v sled [In Their Footsteps, 1988], and Vodolazkin’s Aviator [The Aviator, 2016]) re-sites traditional European Gothic plots in analogous Soviet and post-Soviet institutional settings, including the clinic, the prison camp, and the mental asylum. For context, the article also discusses Gothic aspects of Sharov’s later novels Repetitsii (The Rehearsals, 1992) and Do i vo vremia (Before and During, 1993).     

Russian Sex Studies in the West: What They Talk about When They Talk about Love

Abstract

The approach to Russian sexuality exemplified by Eliot Borenstein’s recent keynote conference address, ‘Perverting Slavic Studies: A Love Story’ is examined and placed into the overall context of some common myths and clichés that seem to circulate in Russian sex studies outside Russia Each of the three parts of the study addresses a familiar set piece about sexuality in Russian culture and literature: Rozanov as an anti-Semitic sadist, as discussed by Laura Engelstein; Viktor Erofeev as an arch-enemy of academic feminists, as framed in the collection Eros and Pornography in Russian Culture; and finally Borenstein’s broad approach and his ‘Russian pornography as an idea’. In a brief summary, some of the most conspicuous problems of the burgeoning Russian sex studies ‘industry’ in the USA are formulated as it struggles to come to grips with its topic.     

Lena Finkle’s magic arc: hybrid influences in the Russian American graphic novel

ABSTRACT

The article examines Anya Ulinich’s graphic narrative Lena Finkle’s Magic Barrel and the novel’s use of visual culture from both the author’s Russian and US American backgrounds. The article interrogates the use of history and timelines, Russian art history and Russian art education in Ulinich’s text. It also analyzes other literary constructs that influenced Ulinich’s novel: US American comics/graphic novels and their use of stereotype, and novels by Russian-speaking Jewish American writers, with their thematized Jewishness.     

Socioeconomic resources,gender traditionalism,and wife abuse in urban Russian couples

Until recently, Soviet data restrictions led to limited knowledge about wife abuse in Russia. This study adds to emerging research on Russian domestic violence by testing hypotheses derived from resource theory on the effects on wife abuse of husband's absolute resources versus spouses’ relative resources. Analysis of data from the 1996 National Survey of Russian Marriages (N= 664) shows support only for the influence of husband's absolute socioeconomic resources (education, employment status, and occupational rank). As in U.S. studies, intergenerational patterns of wife abuse and husband's alcohol use have notable effects on wife abuse. The findings suggest that although resource theory may partly explain wife abuse in urban Russia, spouses’ relative resources and husband's gender traditionalism currently have little influence.     

At the Crossroads of Three Worlds (1943)* By Frederick/Bedřich Fried,New York

Israel and the USSR—An Exercise in Palm‐Reading. Arthur Jay Klinghoffer, with Judith Apter. Israel and the Soviet Union: Alienation or Reconciliation? Boulder, Colo.: Westview Press, 1985. 303pp. Index.

Finding a New World. Victor Ripp, From Moscow to Main Street: Among the Russian Emigrés. Boston: Little, Brown and Company, 1984. 247pp.

The Jewish Contribution to Soviet Culture. Jack Miller (ed.). Jews in Soviet Culture. New Brunswick (US) and London (UK): Transaction Books for the Institute of Jewish Affairs, 1984. viii + 331 pp. Tables. Name Index. $24.95; £18.00.

Reassessing a Difficult Relationship. Howard Aster, Peter J. Potichnyj. Jewish‐Ukrainian Relations. Two Solitudes. Oakville, Ontario, Canada: Mosaic Press, 1983. 72pp. No price indicated.

Dissent—No Isolated Phenomenon. Ludmilla Alexeyeva. Soviet Dissent: Contemporary Movements for National, Religious, and Human Rights. Middletown, Connecticut: Wesleyan University Press, 1985. xxii + 552pp. Index. £32.95, $35.00.     

Scotland at the Russian Front in the First World War: Robert Scotland Liddell,War Correspondent and Photographer,Red Cross Worker and Russian Officer

ABSTRACT

It is unlikely that one would encounter the name of Robert Scotland Liddell (1885–1972) in the list of eminent foreign correspondents covering the First World War in Russia for British newspapers and journals, but he deserves to be much better known both for the quality of the reports and photographs he sent from the Russian front for publication in the magazine The Sphere and for the trilogy of books that appeared in 1916–1917. Liddell began as an orderly attached to the Russian Red Cross in Poland in 1916 and after a period spent with Oliver Locker-Lampson’s British Armed Car Division on the Romanian front, he became an officer in a Russian divisional transport unit and narrowly escaped execution by mutinous troops after the October coup before escaping from Russia at the end of 1917. The article, while concentrating on Liddell’s reporting, experiences and exploits in Russia, attempts to survey his career from his early days as a Fleet Street journalist to the post-First World decades, when he wrote books of travel and novels, before sliding into obscurity.     

The Judgments of David Bergelson

ABSTRACT

In this paper, I read the Yiddish author David Bergelson’s statements at his secret trial through the lens of his own earlier fiction about Soviet justice, especially his novel Judgment. I examine Bergelson’s self-fashioning as a Jewish writer and how he uses his own Jewish background as a justification for his failures as a Soviet person. I offer some contextualization of Bergelson’s statements in light of other trials of other writers both before and after 1952, and compare his declaration of love for Yiddish with other, similar expressions. Bergelson does not merely defend himself, he creates a memory about his legacy for the future.     

Poetics of place and the transformation of the Russian Jewish American self in Lara Vapnyar’s The Scent of Pine and Yelena Akhtiorskaya’s Panic in a Suitcase

ABSTRACT

In The Scent of Pine and Panic in a Suitcase, Russian Jewish American authors Lara Vapnyar and Yelena Akhtiorskaya explore the interiority of the immigrant self in various stages of the immigrant journey from the former Soviet Union to the United States and back. Both novels display a general trend in this literature to move away from the prescribed paradigms of Jewish American immigrant self-understanding, and toward a more private sense of the immigrant self, a movement away from the familiar confines of immigrant urban enclaves and toward a poetics of place that expands the modalities in which post-Soviet Jewish characters interact with US American space.     

Holy Rus: (Re)construction of Russia’s Civilizational Identity

ABSTRACT

Originally connected with the idea of Moscow as the Third Rome and the universal Christian idea of an Empire of Faith, Holy Rus (literally ‘Holy Russia’) has developed today into a transcendental concept of a unifying national force and inter-confessional dialogue based on common moral and spiritual values. The discourse of Russia’s civilizational identity has emerged with new vigor against a background of national and social disintegration. The idea promoted by the state and the Russian Orthodox Church is that Orthodoxy as a quintessence of fundamental moral values is destined to unite the peoples separated by state borders under the auspices of Holy Rus. The core of the civilizational perception is constituted by the supranational nature of Russkiy Mir (literally ‘Russian World’) based on the idea of sobornost. The research is based on the analysis of speeches delivered by President Putin and Patriarch Cyril dedicated to identity issues. The author argues that this official rhetoric is aimed at redefining the place of the Russian Orthodox Church vis-à-vis both Western modernity and domestic secularism within the context of its recovery as an institution after decades of oppression.     

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 struggle of Belorussian Jews for the restitution of possessions and housing in the first Postwar decade

Illusions About the Soviet Position in the Middle East. Amnon Sella, Soviet Political and Military Conduct in the Middle East. London: The Macmillan Press Ltd., 1981. xiii + 211pp. Maps. Tables. Bibl. Appendices. Name Index. Subject Index. £15.00.

A Valuable Piece of Scholarship. Yaacov Ro'i, Soviet Decision Making in Practice: The USSR and Israel, 1947–1954. New Brunswick, NJ: Transaction Books, 1980. 540pp.

Yugoslav Jewry in World War II. Jasa Romano, Jevreji Jugoslavije 1941–1945. Zrtve genocida ucesnici narodnooslobodilackog rata (Jews of Yugoslavia 1941–1945. Victims of Genocide and Freedom Fighters*). Belgrade: Federation of Jewish Communities in Yugoslavia, 1980. 590 pp. Tables. Bibl. Name Index. English Summary.

Antisemitism of a Great Writer. David I. Goldstein, Dostoyevsky and the Jews. Austin and London: University of Texas Press, 1980. iv + 231pp. Index. (University of Texas Press Series 3). $17.50, £12.20.

A Tortured Perspective: A Russified Liberal and the Jewish Predicament. O. O. Gruzenberg. Yesterday: Memoirs of a Russian‐Jewish Lawyer. (Edited and with an Introduction by Don C. Rawson. (Tr. from the Russian by Don C. Rawson and Tatiana Tipton). Berkeley, Cal.: University of California Press, 1981. xxix‐t‐ 235pp. Map. Chart of Court and Law Enforcement System. Glossary of Names. Bibl. Index. $27.50. £19.25.

On the Eve of Babi Yar. Aleksandr Borshchagovsky, Di Nakht Erev Babi Yar. Drame (The Night Before Babi Yar. A Drama). (Translated from the Russian by Note Lurye). Moscow: Sovetish Heymland, no. 9, pp. 16–56.     

‘My Judaic Pride Sang’: Eduard Bagritskii and the Making of Soviet Jewish Identity

Maxim D. Shrayer, Russian Poet/Soviet Jew. The Legacy of Eduard Bagritskii. Lanham, MD: Rowman & Littlefield, 2000. XV + 163pp. Notes. Index. Illustrations. ISBN 0–7425–0780–7     

Arthur Ransome’s Rewriting of the Russian Folktale Historicised

ABSTRACT

The young Arthur Ransome’s Old Peter’s Russian Tales (1916) that has today attained the status of a classic is of chief interest here as part of the British–Russian cultural interaction and interconnections at the turn of the twentieth century. In an attempt to historicise the author-translator in his creative effort to rewrite the Russian folktale, this paper focuses on his quest for magic and the collection of fairy stories, resulting from interacting with both place and people. A microscopic analysis of the translator’s life and work in his early years in Russia, via a study of archival material (Brotherton Collections, University of Leeds Library) and other relevant documents, has helped to reconstruct them in a richness of detail that sheds light on the bigger picture of the British–Russian relationship. The translator's gift to his reader, a token of fruitful experiences in this new and exciting fairyland, was, in fact, the product of mediation agency between the two worlds, the role that Ransome had found crucial and realised successfully in practice. As a result, another cultural and emotional bridge was built to interconnect these two countries.