220 REVOLUTION AND LOVE IN RUSSIAN FILM
| Course Description | |
|---|---|
| Explores twentieth-century Russian culture through film, art, architecture, and literature. Topics include scientific utopias, eternal revolution, individual freedom, collectivism, conflict between the intelligentsia and the common man, the “new Soviet woman,” nationalism, and the demise of the Soviet Union. Works of Eisenstein, Tarkovsky, Kandinsky, Chagall, Mayakovsky, Pasternak, Brodsky, Akhmatova, Solzhenitsyn, and Tolstoya. Weekly film viewings. Russian majors are required to do some reading in Russian. (Same as Russian 221.) | |
| Distribution | |
| C | |
| Prerequisites | |
| Day/Time: | T,TH — 1:00 - 2:25 |
| Location: | Sills-Language Media Center |
| Instructor: | Knox-Voina, Jane E (jknox@bowdoin.edu) |
| Class Email: | wst220@bowdoin.edu |
| Final Exam: | 05/21/2005, 9:00 am |
Women's Studies 220 Reserve List (no items currently on reserve).
Rebecca Economos'06 and Sarah Hippert'05 in Novosibirsk, June 2002, in front
of stature to New Soviet Woman and Man
FILMS IN THE COURSE:
Evgenii Bauer, Child of the Big City. (1914).
Lev Kuleshov, Adventures of Mr. West in the Land of the Bolsheviks (1924).
Sergei Eisestein, Strike (1924).
Abram Room, Bed and Sofa (1927).
Dziga Vertov, Man with A Movie Cameria (1929).
Sergei Eisenstein, Que Viva Mexico(shot in 1929/30).
Grigorii Alexandrov. Circus.(1936).
Friedrich Ermler, No Greater Love (1943).
Mikhail Kalatozov, Cranes are Flying (1957).
BIBLIOGRAPHY OF SELECTED SECONDARY READINGS
See also:
http://www.bl.uk/collections/wider/russwomen/russwomen.html
*Atkinson, Dorothy, Alexander Dallin & Gail Warshofsky Lapidus. Women in Russia. Sandford: Stanford University, 1977.
*Attwood, Lynne. Creating the New Soviet Woman. Women's Magazines as Engineers of Female Identity, 1922-53. London: MacMillan Press, 1999.
**Attwood, Lynne. The New Soviet Man and Woman: Sex-role Socialization In the USSR. Bloomington: Indiana University Press, 1990.
Attwood, Lynne. Red Women on the Silver Screen. London: Pandora Press, 1993.
Balia, Tino. Grand Design: Hollywood as a Modern Business Enterprise, 1930- 1939. Berkely: University of California Press, 1993.
Basinger, Jeanine. A Woman’s View: How Hollywood Spoke to Women, 1930-1960. Hanover, NH: University Press of New England, 1993.
*Birth of Soviet Cinema. Maxim Gorky Studios and Films for Humanities, 1972. (LMC)
Buikema, Rosemarie and Anneke Smelik. Women’s Studies and Culture: A Feminist Introduction. London: Zed Books, 1993.
Bridger, Rebecca Kay and Kathryn Pinnick, No More Heroines? Russian, Women and the Market. London and New York: Routledge, 1996.
Chester, Pamel and Sibelan Forrester. Engendering Slavic Literatures. Bloomington: Indiana University Press, 1996.
Clements, Barbara Evans. Bolshevik Women. Cambridge:
Cambridge
University Press, 1997.
Cooner, Terry A. Balance Acts: American Thought and Culture in the 1930s. New York: Simon and Schuster Macmillan, 1995.
Cowie, Elizabeth. Representing the Woman: Cinema and Psychoanalysis. Minneapolis: University of Minnesota Press, 1997
Edmondson, Linda. Women and Society in Russia and the Soviet Union. Cambridge, England: Cambridge university Press, 1991.
*Elliot, David. Mayakovsky: Twenty Years of Work. Oxford: Museum of Modern Art.
*Eisenstein, Sergei. M. The Film Sense. New York: Harvest, 1995.
*Eisenstein, Sergei. M. Selected Works Volume I: Writings, 1922-1943. London: BFI, 1988.
Enzenberger, Marie. “We were born to turn a fairy tale into reality,” in Richard Taylor, ed. Stalinism and the Soviet Cinerma.. London: Routledge, 1993,
Goscilo, Helena, ed. Balancing Acts: Contemporary Stories by Russian
Women. New York: Bantam, 1989.
Goscilo, Helena. Dehexing Sex. Russian Womanhood During and After Glasnost. Ann Arbor, University of Michigan, 1996.
Goscilo, Helena, ed. Lives in Transit: Recent Russian Women’s
Writing. Ann
Arbor: Ardis, 1995.
*Goscilo,Helena and Beth Holmgren. Russia, Women and Culture.Bloomington: Indiana University, 1996.
Goulding, Daniel. Post New Wave Cinema in the Soviet Union and Eastern Europe.. Bloomington: Indiana University Press, 1989.
Heaton, Julia. “Russian Women’s Writing -- Problems of a Feminist
Approach, with Particular Reference to the Writing of Marina Palei,” The
Slavic and
East European Review. Vol. 75, No. 1, January 1997.
Heldt, Barbara. Terrible Perfection. Women and Russian Literature. Bloomington: Indiana University Press, 1987.
“Heroine Worship,” New York Times Magazine. November, 1926.
Hobberman, J. 42nd Street. London: British Film Institute, 1993.
*Karetnikova, Inga. Mexico According to Eisenstein. Albuquerque: Universitiy of New Mexico Press, 1991.
*Kenez, Peter. Cinema & Soviet Film. Cambridge: Cambridge University Press, 1992.
*Kenez, Peter. Birth of the Propaganda State: Soviet Methods of Mass Mobilization. Cambridge: Cambridge University Press, 1985.
*Kenez, Peter and Richard Stites. Bolshevik Culture: Experiment and Order in the Russian Revolution.Bloomington: Indiana University, 1985.
Knox-Voina, Jane. “Everything Will Be OK”: A New Trend in Russian Film.” Russian Review, March 1996, pp. 286-290.
Knox-Voina, Jane. The Myth of Beauty and Eroticism: Female Icons in Recent Russian Film, Advertising, and Popular Journals. In Film Studies. Women in Contemporary World Cinema. Ed. by Alexandra Heidi Karriker. Ch. 7. Peter Lang: New York: 2002),101-121.
Knox-Voina, Jane. “Obsessions” (Uvlechen’ia) Slavic Review, Vol. 44, No. 2, Summer 1996, pp. 433-436.
Knox-Voina, Jane. “Sochi Film Festival 1997.” Closely Watched Frames. Fall 1997, Vol. IX, No. 2, p. 2.
*Kollontai, Alexandra. The Autobiography of a Sexually Emancipated Communist Woman. New York: Herder and Herder, 1971.
*Kollontai, Alexandra. Selected Writings.W.W. Norton, 1977.
*Lapidus, Gail Warshofsky. Women in Soviet Society. Equality, Development and Social Change. Berkelley: University of California, 1978.
*Lavaly, Al and Barry P. Scherr. Eisenstein at 100. A Reconsideration. New Brunswick, New Jersey: Rutgers, 2001.
*Lawton, Anne. The Red Screen Politics, Society, Art and the Soviet Union. New York: Routledge, 1992.
Lawton, Anna. Kinoglasnost: Soviet Cinema in Our Time. Cambridge: Cambridge University Press, 1962.
*Leyda, Jay. Kino: A History of the Russian and Soviet Film. Princeton: Princeton University Press, 1960/1997.
Maltby, Richard. Hollywood Cinema. Cambridgee, MA: Blackwell Publihsers, 1996.
Mamonova, Tatyana. Russian Women’s Studies: Essays on Sexism in Soviet Culture. New York: Pergamon Press, 1989.
Mamonova, Tatyana. Women and Russia: Feminist Writings from the Soviet Union. Boston: Beacon Press, 1984.
Mamonova, Tatyana. Women’s Glasnost vs. Naglost: Stopping Russian Backlash. Westport, CN: Bergin and Garvey, 1994.
*Maxwell, Margaret. Narodniki Women. Russian Women Who Sacrifieced Themsevles for the Dream of Freedom. New York: Pargamon Press, 1990.
Mayne, Judith. Kino and the Woman Question: Feminism and Soviet Silent Film. Columbus: Ohio State University Press, 1989.
McLaughlin, Sigrid. The Image of Women in Contemporary Soviet Fiction.
New York: St. Martin’s Press, 1997.
Mellencamp, Patricia. A Fine Romance: Five Ages of Film Feminism.
Philadelphia: Temp[le University Press, 1995.
Navailh, Francoise. "The Image of Women in Contemporary Soviet Cinema." In A. Lawton. The Red Screen: Politics, Society, Art in Soviet Cinema. London: Routledge, 1992.
Petrushevskaya, Ludmilla. The Time: Night.
New York: Pantheon Books,
1994.
Pilkington, Hilary. Gender, Generation and Identity in Contemporary Russia. New York: Routledge, 1996.
Porter, Cathy. Alexandra Kollontai. The Lonely Struggle of the Woman Who Defied Lenin. New York: The Dial Press, 1980.
Rosenbaum, Jonathan. Movies as Politics. Berkeley: University of California Press, 1997.
Sandler, Stephanie and Judith Vowles, ed. Sexuality and the Body in Russian Culture. Standford, CA: Standford University Press, 1997.
Seger, Linda. When Women Call the Shots. New York: H. Holt, 1996.
Shindler, Colin. Hollywood in Crisis.: 1929-1939.
New York: Routledge, 1996.
*Shlapentokh, Dmitry. Soviet cinematography, 1918-1991 : Ideological Conflict and Social Reality. New York: A. de Gruyter, 1993.
Stites, Richard. Culture and Enterntainment in Wartime Russia. Bloomington: Indiana University Press, 1995.
*Taylor, Richard and Ian Christie. Inside the Film Factory. New Approaches to Russian and Soviet Cinema. London and New York: Routledge, 1991/1994.
*Taylor, Richard and Derek Spring, ed. Stalinism and Soviet Cinema. London: Routledge, 1993.
Wolf, Naomi, Beauty Myth: How Images of Women are Used Against Women.
New York: Anchor Books, 1992,
*Zoshchenko, Mikhail. Scenes From the Bathhouse. Ann Arbor: Te Universitiy of Michigan, 1962.
Life and Paintings of Diego Rivera.Soviet Influence or Diego's Influence on Eisenstein?
Life.
Good Government.
Dividing the Land.
The Offering,
The Bood of the Revolutionary Martyrs,
From Conquest to 1930s,
Allegory of California.
Pan American Unity.
RUS 221 SYLLABUS FOR SPRING 2005
REVOLUTION, WORK, RED LOVE AND VIOLENCE
IN RUSSIAN/SOVIET FILM
WEEK I
Jan 25
Introduction: End of the 19th century: Stagnation and Revolt. Modernism, Symbolism
Decadence, 1905 and 1917 Revolutions. History of Russia at the end of the
19th and the beginning of the 20th centuries. Silent film for the upper classes:
E. Bauer's Child of the Big City (1914). Excerpts from The Last of the
Romanovs.
Assignment: Question of the plight of the urban poor (particulary
women) at the mercy of the despotic rich factory owners and upper classes.
Examine rift betwee the two classes represented by the male heroes and the
female heroine.
.
Handout:
Mayakovsky's "A Slap in the Face of Public Taste";
See Kuleshov's film: Adventures of Mr. West in the Land
of the Bolsheviks (See how an American cowboy and the WMCA come to Russia
to do battle with the Bolsheviks!!!). LMC 7:00 p.m.
Jan 27
1917 Revolution. Politics of the Bolsheviks: Work, Family and Society.Discussion
of these themes in pre-and postrevolutionary Cinema (Bauer and Kuleshov).
Film as the most important art for the Revolution and Lenin. Art of Natalaya
Goncharova and Kuzma Petrov-Vodkin. InpPraise of simple or folk figures. Creation
of New women and men: tough, tempered by fire but simple, pure and ascetic.
Assignment: Clash of the old and the new, Creation of new
Gender Politics: Enroll Everyone in Building
Socialism. Flight from the Bedroom to Public Domain
Read: L. Trotsky’s Women and the Revolution
(excerpts)and M. Zoshchenko’s short stories of the 1920s, class
handout. For common ties with the 19th century writer, Nikolai Gogol', click here. To read more about his life, click here
WEEK II
Feb 1
Lenin and the Revolution, Civil War, New Economic Policy (NEP). Discussion of the petit-bourgeois
class traits and vices-- vulgarity, philistinism and narrowness of vision--that
flourished and came back during NEP (Lenin’s New Economic Policy). Film
at the forefront of Revolutionary Art: Montage Technique. Film and Ideology
.
Assignment: See Film: See S. Eisenstein's Strike
(1924/25). (LMC 7:00)
Feb 4
Discussion of Eisenstein's Strike and Judith Mayne’s feminist film critique
of Eisenstein.Use of montage techniques to portray new and old charater types.
Creation of new social gender constructs in film. Eisenstein's Strike
and October(Ten Days That Shook
the World), if time. The Russian Avant-Garde and Fellow Travellers (Zoshchenko).
Assignment:
Feminist Revolutionary,
A. Kollontai and her Sexual Politics for the New Soviet
Woman.
Read: Kollontai’s “Three Generations” and "Sisters"
in Love of Worker Bee, pp. 182-232. (book in textbook
annex)
Lynne Attwood, “The Promotion of New Gender Relations,” Creating
the New Soviet Woman: Women’s Magazines as Engineers of Female Identity,
1922-53, pp. 52-65 (Class Handout).
Study Historical Timeline. Class Handout.
WEEK III
Feb 8
Revival of the Women Question among leading intellectual such as Bolsheviks:
N. Chernyshevsky, Leon Trotsky, Krupskaya and Alexandra Kollontai. Issues
of work, family life, abortion, sexuality in the new utopian society. Bolshevik
women.
If time:
Slides of new art. Poster Art. Film as THE propaganda tool of the Bolshevik
Party. Creation of new female and male icons (replacing old stereotypes) FOR
MASS CONSUMPTION.
Assignment: See film, Bed and Sofa
Feb 10
Discussion of Bed and Sofa. Creation of new sexual
politics and women’s emancipation. Creation of “Women’s
Division” Zhen otdel) in new Bolshevik Government. Roles of Krupskaya
(Lenin’s wife) and political activist, Alexandra Kollontai in Soviet
political power. Her New Morality. Official views on abortion, civil marriages
and “free love.” Golden Age of Soviet Cinema and Avant-garde Art.
Assignment: Kollontai’s “Sisters and "Vasilisa”
in Love of Worker Bee, pp. 21-110.
WEEK IV
Feb 15
Discussion of “Bolshevik Love” and the Backsliding with Lenin’s
New Economic Policy: NEPMEN AND NEPWOMEN at odds with the Bolshevik revolutionaries.
Assignment: See Dz. Vertov's Man with the Movie Camera.
Feb 17
Discussion of Vertov's 'Kino Eye' and film Man with the Movie
Camera. Objectification and the gaze (see video on research): feminist approach.
Political Backlash and rise of militant
communism. Rise of science and the machine world reflected in film and Machine
art. New Androgynist Heroines. Politically correctness: Gender differences
deemphasized. Demise of the private Family life. “Red” or Bolshevik
love.
Assignment: Kolontai’s “Vasilissa
” Love of Worker Bee, pp. 110-181 and Mayakovsky’s
play Bedbug (Handout).
WEEK V
Feb 22
Clash between Orthodox Marxism and the materialism of new Nepmen and nepwomen,
reaping the rewards of the Revolution. Discussion of themes and image of heroes/heroines
in literature and film of the 1920s. Politcal correctness: major attributes
desired in the New Soviet citizen. Gender politics and reality correspond
in Kollontai's (Love of Worker Bee) and Mayakovsky's work (Bedbug)? For information on Mayakovsky's life and work click here.
Questions to be handed out in advance (see chair outside of Sills 8). Discussion
of First Paper Topics
Assignment: See Eisenstein’s Que viva Mexico.
Write a 1 1/2 - 2 page position paper based on one of the questions handed
out.
Feb 24
Rise of proletarian art and attacks on the “formalists:”
Eisenstein and Vertov. Universal revolution and proletariat. Eisenstein’s
interest in Hollywood Sound and the Mexican Revolution. Eisenstein’s
“gaze” and eroticism. Discussion of Diego Rivera's influence of Eisenstein, his trip to Mexico and the making of the film Que Viva Mexico.. The blacklash again Eisenstein in Moscow.
Stalin’s attack of the “formalist
films” of Eisenstein and Vertov. "Socialist Realism" introduced
by Party Congress and Union of Writers as only accepted art form. Films for
and about the masses, the common folk. New palaces for the new Order of Workers
where “Any kitchen Maid can lead her country if called [by Stalin].”
Influence of Hollywood musicals: Stalin’s fairy tale society with a
New Cinderella. Role of sports and physical strength. Energy, speed, velocity,
movement, light, community: values of new Soviet society. Questions to be
handed out in class.
Assignment: See Aleksandrov’s Circus.
Week VI
March 1
Stalin’s Five Year Plans: Industrialization and Collectivization. Film
restricted to these goals.Vertov, Eisenstein Aleksandrov and others conform.
Excerpts from SocCities, Turksib and Volga, Volga. Cult of the Great Leader:
Stalinist-Lenism: Return of traditional patriarchal values. Film the ideological
tool of the Party and the Leader. For more on
the cult of Stalin. Monumental women and men at the vangard
of the battle line against the evil West. Sacrifice of personal life, of family,
love and sex for the good of the whole. “We have no Sex in the Soviet
Union.” Vertov’s Three Songs of Lenin: Stalin’s War on religion.
Industrialization and Conguest of Nature in the name of progress. Beginning
of the rape of Siberia.
Assignment: See No Greater Love (She Defends the
Motherland). Select paper topic and create draft
or outline.
March 3
Final comments about American and Russian Musicals. Patriotic songs, including
"My Native Country is Vast" written by Vasily Lebedev and Isaac Duaevsky in 1935 for Alexandrov's Circus(1936). Discussion of war film See No Greater Love (1943). See
excerpts from Fall of Berlin. The Decline of Soviet
Film. Tightening the reigns. Arrests and trials. Fear and paralysis. Turn
in paper outlines or drafts.
Assignment: Read Chukovskaya’s Sophia Petrovna.
Write a short position paper.
Week VII
March 8. Discussion of Sophia Petrovna. Secret Police crack down on writers Zoshchenko and others. Talk
by Honors student, Allison Barz on Prison literature.
Assignment: Finish Sophia Petrovna
and work on papers. Personal consultation during office hours
required.
Assignment: FIRST PAPER. DUE BY NEXT CLASS PERIOD.
FIRST PAPER DUE BY CLASS ON MARCH 10
March 10. Discussion of SP and wrap up of Stalin era.
PAPER DUE BY CLASS
ASSIGNMENT:
SEE FILM: Mikhail Kalatozov, Cranes are Flying (1957).
"The Big Sleep", 1953-56 (Real Images: Soviet Cinema
and the Thaw, handout.).
WEEK VIII
SPRING BREAK.
SPRING BREAK
WEEK VIII
March 29. Discussion of film Fall of Berlin. Stalin’s
Death and end of an era. The Thaw of the 1950s and Khrushchev’s
Secret Speech. Partial Return to Film techniques of 1920s. Return to
the common, everyday individual world. New realism. Reclaiming roots in family,
in traditional life of country side not fully Sovietizied. After the war a woman
now must be ” a woman is an ox, a broad, a horse and a man” (M. Turovskaya).
Clips from A Woman is an Ox, a Horse and a Man.
Assignment: See film Komissar by Aleskandr Askoldov (1967/1987).
April 1. Continued discussion of the Thaw period. New reappraisal of the war. Focus on youth:clips from Grigorii Chukhrai’s Ballad of a Soldier(1959). Khutsiev’s I am Twenty and others. Psychological withdrawal from society into the world of private feelings. Search for new more meaningful "paths". Neoromanticism: return to world of private emotions -- love, sorrow, etc.). Examination of problems between generations (parents and children, men and women. Traditional gender roles return. DeStalinization: Opening the Prison Camps. Rehabilitation of Political Prisoners. DeStalinization: Examination of failure of Stalin’s Collectivization in the Country Side.
Assignment: Read A.
Solzhenitsyn’s Matryona’s
Home (handout) and questions.
Selection from Zofia Lissa's Functions of Film Music and Miscellaneous Terminology (handout),
Optional:
“Part II: The Big Sleep, 1957-59 (pp.59-99), Real Images: Soviet
Cinema
and the Thaw (handout).
WEEK IX
April 5.
New era of film: Socialist Realism with a More Human Face? Myth deconstructed:
Size of Soviet Women and Men Shrinks. Disorientation. Discussion of Solzhenitsyn's
Matryona's Home amd Real Images: Soviet
Cinema and the Thaw..
Art of Thaw painter
N. Nesterova. (slides). Please look at Bowdoin
Russian page.
Return to “Difficult” Art: poetry of Brodsky and Anna Akhmatova. Films of A. Tarkovsky and Kira Muratova. Read in class: Brodsky’s poetry.
Influence of Spanish Painter Francisco Goya on Thaw poet A. A.Voznesensky . Window opens again to the West. Ernest Hemingway and his participation in the Spanish Revoution and Civil War, the thought of a Fifth Column become popular among dissident intellectual in the Soviet Union during the Thaw.
Assignment: See L. Shepitko’s Wings , 1966.
Optional: The Real Images: Soviet Cinema and the Thaw, (handout)
April 7.
Growing Alienation between the family and gendered space:
work and home. Official Pressure to marry.
(Clips from At the Ball /Holiday and Muratova’s Brief
Encouners and Getting to know the World)
Assignment:
J. Woll, Real Images.The Soviet Thaw.., "To have or not to have” , pp.209-224)
Begin reading I. Grekhova’s Ship of Widows.
WEEK X
April 12. Discuss shelved movies. Role of censorship tightened again. NeoStalism and Stagnation of the Brezhnev era (1964-1982).
I. Grekhova’s Ship of Widows. Relegation
of women to the house or lesser positions and growing images of a twisted male
hero. Rift between men and women grows. Focus on sons, husbands and male. Era of Stagnation 1970s. Loneliness. Crumbling of home and society.
Traditional gendered space: women – the empty home, men the staircase
leading away and beyond.
Assignment: See Little Vera
Begin thinking about your paper topic on the Thaw/Stagnation Period and come up with an outline, if possible.
April 14
Discussion of Grekhova novel. Shrinking of the monumental images: “thawed”
and “flawed” women
and men. Mikhael Gorbachev’s Glasnost. Need for openness and recognition
of failures. Second Sexual Emanicipation. Women and men reclaim their sexual
bodies. The new cindrella. Soviet era reduced men to brutish hulks or infantile
paralytics, misfits.
Assignment: Second Paper Outline. Finish SW.
WEEK XI
April 19. Turn in Second Paper Outline in class. Discussion
of SW and the beginning of the end of the Great Soviet experiment. Collapse
inevitable and why. What went wrong? Russian cinema again leads the way. Introduction
of "black hole" cinema.
Assignment: See N. Mikhalkov's Close to Eden (Urga).
April 21. Discussion of Glasnost film and postglasnost film..Withering away at the periphery. Lost of national self identity, memory and culture. Paper drafts returned.
Assignment:
Write final draft of Second paper.
WEEK XII
April 26. Papers due at the beginning of class. Discussion
of come-back of censored film directors. Postglasnost’s
Heroes. Discussion of glasnost prose and post-glasnost film in terms of new
sexual politics. Shift from
matriarchal to patriarchal films.. Rise of "new rich Russians" (novye
russkie)and their body guards. Nostalgia for the power and strength of
the Stalin era male heroes. Morals of the wolf pack: victimimze or be victimized.
Estrangement. Alienation from reality.
Assignment: See Kira Muratova’s Passions or
Obsessions.
April 28. Discuss of the new heroe and heroines in Postglasnost
society of the 1990s. New film Icons: Russian Male Hulks and Russian Beauty
Queens or Cinderellas. Exit of Female Tractor Drivers -- entrance of “Miss
Russia” and Russian Lolitas.Revival of the criminal and the Stalinist
male. Breakdone of family and search for “surrogate families.”
Assignment: Read 1) The collection of articles/reviews of Kira Muratovas films: The Case of Muratova. 2) Jane Knox-Voina, The Myth of Beauty and Eroticism: Female Icons in Recent Russian Film, Advertising, and Popular Journals, in Film Studies. Women in Contemporary World Cinema. Ed. by Alexandra Heidi Karriker. Ch. 7 (Peter Lang: New York: 2002),101-121.
See the 1997 film The Thief. Director Pavel Chukhrai. Russian/France, 98 min.
WEEK XIV
May 3. “New Morality” of the 1990s: Survival of
the Fittest: Orphan and patriarchal images in The Thief. The
lost generation. Sexual Revolution produces
Prepare for oral presentations with film clips (5 minutes each).
Discussion of Final Paper Topics and personal meeting times.
Assignment: .See Balabanov's Brother
Read
Short story of Tatyana
Tolstaya (handout).
May 5. Discuss Brother and the search for a national new Hero. Stalinist mentality in the 1990s: Crime, Violence on the Rise with Collapse of the Soviet Union. Brute physical and sexual strength. Lack of Morality, Decay of family. New Sexual Revolution. Discussion of "new types of women and men."
Assignment: See The Return and read No More Heroines (handout). Be prepared to discuss one clip from the film. Email me which clip this will be by Monday."
WEEK XIV
May 10. Discussion of The Return .
Wrap-up and Oral presentations with clips. Recap of
the lastest Russian films with clips from Sochi Films Festival. Sexual empowerment
of new Russian women. Clips for Sergei Bodrov's Sisters and Natalya
Sadilova's Happy Birthday,and others. Discussion of Final papers.
Final Paper is due May 16