The article explores cinematic sensibility in Larisa Shepit'ko’s Wings (Kryl'ia, 1966) and Dinara... more The article explores cinematic sensibility in Larisa Shepit'ko’s Wings (Kryl'ia, 1966) and Dinara Asanova’s Rudolfio (1966) within the broader context of the Thaw cinema and Communist morality. Both films became ‘gender trouble’ for the audience and censors, and were considered controversial by their contemporaries. The aim of the article is to explore how women filmmakers used the aesthetic pluralism of the Thaw to embed a critique of the standards of Communist morality. The article begins by analysing Communist morality and its reconfigurations during the Thaw. It claims that Shepit'ko and Asanova revealed non-normative experiences of womanhood and girlhood as complex, yet legitimate. Drawing on recent theories of ‘haptic’ in cinema, special attention is paid to the aesthetic strategies used by the filmmakers to encourage an embodied connection between the spectator and the film. The foregrounding of this connection can lead to a better understanding of the interrelation between the aesthetics of the film, the politics of emotions and gender/sexual norms in the Soviet society.
Journal of Soviet and Post-Soviet Studies (JSPPS), 2016
The paper explores gender and sexual dissent in contemporary Ukraine and Russia, turning to the s... more The paper explores gender and sexual dissent in contemporary Ukraine and Russia, turning to the space between feminist art and activism. It focuses on three feminist art projects, Zhinochyi Tsekh (Women's Work Unit, Kyiv, 2012), Feministskii Karandash (Feminist Pencil, Moscow, 2012) and Feministskii Karandash‐II (Feminist Pencil‐II, Moscow, 2013). It is argued that these events mark a shift in contemporary art, where feminist artists and activists engaged in projects that explicitly dissented against patriarchal societal norms and the neo‐traditionalist turn in the state politics of both countries. The paper examines curatorial strategies, the artworks produced and the broader networks of dissent that influenced (and were influenced by) the art projects themselves.
The article explores cinematic sensibility in Larisa Shepit'ko’s Wings (Kryl'ia, 1966) and Dinara... more The article explores cinematic sensibility in Larisa Shepit'ko’s Wings (Kryl'ia, 1966) and Dinara Asanova’s Rudolfio (1966) within the broader context of the Thaw cinema and Communist morality. Both films became ‘gender trouble’ for the audience and censors, and were considered controversial by their contemporaries. The aim of the article is to explore how women filmmakers used the aesthetic pluralism of the Thaw to embed a critique of the standards of Communist morality. The article begins by analysing Communist morality and its reconfigurations during the Thaw. It claims that Shepit'ko and Asanova revealed non-normative experiences of womanhood and girlhood as complex, yet legitimate. Drawing on recent theories of ‘haptic’ in cinema, special attention is paid to the aesthetic strategies used by the filmmakers to encourage an embodied connection between the spectator and the film. The foregrounding of this connection can lead to a better understanding of the interrelation between the aesthetics of the film, the politics of emotions and gender/sexual norms in the Soviet society.
Journal of Soviet and Post-Soviet Studies (JSPPS), 2016
The paper explores gender and sexual dissent in contemporary Ukraine and Russia, turning to the s... more The paper explores gender and sexual dissent in contemporary Ukraine and Russia, turning to the space between feminist art and activism. It focuses on three feminist art projects, Zhinochyi Tsekh (Women's Work Unit, Kyiv, 2012), Feministskii Karandash (Feminist Pencil, Moscow, 2012) and Feministskii Karandash‐II (Feminist Pencil‐II, Moscow, 2013). It is argued that these events mark a shift in contemporary art, where feminist artists and activists engaged in projects that explicitly dissented against patriarchal societal norms and the neo‐traditionalist turn in the state politics of both countries. The paper examines curatorial strategies, the artworks produced and the broader networks of dissent that influenced (and were influenced by) the art projects themselves.
Uploads
Papers by Olenka Dmytryk
Thesis Chapters by Olenka Dmytryk