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ISOE-Newsletter Nr. 4/2024
(2024)
„Das ist eine Mammutaufgabe“ – ISOE-Experte Thomas Friedrich über den Stand der Klimaanpassung in Kommunen +++ „Der Biodiversitätsverlust nimmt auf zögerliche politische Prozesse keine Rücksicht“ – ISOE-Forscherin Marion Mehring im Interview +++ Neuartiger landwirtschaftlicher Anbau mit aufbereitetem Wasser: Erstes Reallabor in Betrieb +++ Lösungen für die nachhaltige Wasserversorgung in boomenden Urlaubsregionen +++ Wie kann eine Trendwende zum Schutz der Artenvielfalt erreicht werden? Neues Analysetool gibt Antworten +++ Aktuelle Beiträge im ISOE Blog +++ Aus dem ISOE +++ Das ISOE in den Medien +++ Termine +++ Publikationen
Uni-Highlights Juni 2024 : Einladungen zu ausgewählten Veranstaltungen der Goethe-Universität
(2024)
Uni-Highlights Juli 2024 : Einladungen zu ausgewählten Veranstaltungen der Goethe-Universität
(2024)
Uni-Highlights September 2024 : Einladungen zu ausgewählten Veranstaltungen der Goethe-Universität
(2024)
Throughout the years of Belarusian independence, remnants from the Soviet Union have permeated the everyday lives of its citizens as well as the country's colloquial and political rhetoric, often thoroughly detached from their original cultural contexts, discourses, and imaginaries. But what can we learn from watching Soviet movies today? The movies in question bear complex meaning pertaining to different Soviet eras and transition periods. Through an informed viewing, we not only perceive the official agenda - be it political, ideological, or cultural - but also traces of social and political tensions, metaphors, and "clues" on historical reality. Historicizing these movies and understanding their initial cultural and social context as part of a sociocultural analysis of film allows to uncover implicit, often unintentional meanings inherent to this cinematic heritage. My analysis here will focus on the social drama "The Woman" ("Женщина"), a late masterpiece of Soviet avant-garde cinema directed by Yefim Dzigan and Boris Shreyber. Artistically and stylistically, this widely forgotten silent movie provides one of the most vivid and interesting pre-War filmic representations of collectivization and village life on Belarusian territory. Produced by Belgoskino, the first Belarusian state-run film studio, and released throughout the Soviet Union in the summer of 1932 through an all-Union distribution, "The Woman" portrays the difficulties of establishing life on a collective farm.