In:
Film Studies, Manchester University Press, Vol. 22, No. 1 ( 2020-05-01), p. 11-29
Abstract:
This article focuses on Angelina Nikonova’s debut film Twilight Portrait ( Portret v sumerkakh , 2011) and analyses the trajectory of the ‘difficult’ female protagonist, Marina (Ol´ga Dykhovichnaia), in relation to the spaces she inhabits and reclaims within the film. The article argues that, despite the incredulity and hostility that she inspires both on-screen and off-screen, Marina symbolises a complex, wider struggle for women’s sovereignty within the deeply patriarchal context of contemporary Russian society. In so doing, it shows that the film’s sustained, albeit ambiguous, probing of gendered hierarchies and institutions renders the film an important contribution to Russian cinema and, also, to the wider feminist filmmaking and feminist cultural discourse.
Type of Medium:
Online Resource
ISSN:
2054-2496
,
1469-0314
Language:
Unknown
Publisher:
Manchester University Press
Publication Date:
2020
SSG:
9,3
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