Kino and the Woman Question: Feminism and Soviet Silent Film

By Judith Mayne

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The unconventional opens with the trial, which proceeds m u c h within the comparable approach as Pavel's trial. The judges are bored and stressed (one of them is preoccupied along with his "Swiss girlfriend"), and the safeguard is unprepared. in contrast history of a parody of justice, the nobleman, Nekhludov, starts off to query enormously his o w n existence as soon as he acknowledges the w o m a n , Katusha. H e sees in her either a reflec­ tion of his o w n earlier and an emblem of his o w n accountability— or loss of it. The trial initiates, briefly, an intensive swap of realization in Nekhludov: "The negative veil, which for ten years had hung among him and the end result of his crime, used to be commencing to waver, and n o w and back he stuck a glimpse of what used to be hidden at the back of it. "7 Such is also the sig­ nificance of Pavel's trial for the mummy. T h e parallel "crime" in her prior is her betrayal of her son, and the trial has an analogous narrative value in mom and in Tolstoy's novel. it's a public ritual during which the emergence of an unforeseen fea­ ture—the attractiveness of authoritarian figures as buffoons, or the looks of somebody from one's o w n past—provokes swap. The trial scene because it is delivered to the display in mom represents a m o m e n t of fusion among the h o m e and the general public sphere, among Pavel as his mother's baby and Pavel as a progressive. The trial marks the start of such con­ nections for the mummy. As Richard Taylor places it, the occasions within the court docket "bring the mummy from passive acquies­ cence within the previous global to energetic participation within the fight for the hot. " eight T h e narrative functionality of the trial, during this admire, isn't really in contrast to the party in through the legislations, a sim­ ilar m o m e n t of mediation among deepest and public selves. In every one movie, a socialist author—London, Gorky—is tailored to the monitor through detours via a novelistic culture repre­ sented via Dostoevsky and Tolstoy. although family house now not is depicted at the 104 mom and Son monitor as soon as the mummy has began to turn into politically conscious, the connection among mom and son intensifies. In different phrases, their dating really prospers w h e n it strikes be­ yond the privatized house of the h o m e . in the h o m e , the son defends his mom opposed to the tyrant father; yet within the social sphere, he defends his category opposed to a complete method. The mother's position during this technique is finally that of inter­ mediary, either when it comes to Pavel's courting, as a revolution­ ary, to family members and kingdom authority, and by way of the viewer's notion of that very method. whereas mom seems to be a movie that's pointed out with the viewpoint of the mummy, because it is her switch that offers the movie its uncomplicated constitution, the overarching point of view of the movie is obviously pointed out with the son. it truly is his revolution, and his id that finally bene­ matches from the switch within the mom. That Pavel is intended to face for innovative Soviet society purely reinforces this function.

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