여성의 자리: <메샨스카야 3가>에 비친 안과 밖의 풍경 (Space for Woman in Tret’ia Meshchanskaia)

서지정보

· 발행기관 : 한국슬라브․유라시아학회
· 수록지 정보 : 슬라브학보 / 23권 / 1호 / 147 ~ 168페이지
· 저자명 : 윤새라

초록

Abram Room’s 1927 film Tret’ia Meshchanskaia, often dubbed as the first Soviet
feminist film, offers a valuable insight into the period when the film was made. Unlike
most of the mainstream movies of the time dealing with the past, this film captures the
spirit of the time, particularly the woman question. Against the backdrop of a series of
progressive reforms on women issues that were introduced in the Soviet Union in the
1920s, the film touches upon the crucial issues any “new” Soviet woman had to grapple
with, namely, in the realms of sexual relations, production (work), and reproduction
(abortion).
In this paper, I attempt to investigate the woman question from the vantage point of
space. The film’s artistic narrative contains several dimensions of space, but first and
foremost, the poetics of “in” and “out” permeates the entire work, shedding light on
where Liuda, the heroine of the film, is and where she will be. The woman stays in a
semi-basement flat, a condition comparable to confinement. By contrast, her husband
symbolically occupies a work space out on the top of the Bolshoi Theater. The contrast
of space rich in symbolism continues all the way throughout the film, including the three
key episodes of Liuda’s outing. In the end, by means of a masterful utilization of space
on various levels, the film portrays the process of a woman’s transformation into a truly
positive “new” Soviet woman, in keeping with the social demands promoted by the Party.

영어초록

Abram Room’s 1927 film Tret’ia Meshchanskaia, often dubbed as the first Soviet
feminist film, offers a valuable insight into the period when the film was made. Unlike
most of the mainstream movies of the time dealing with the past, this film captures the
spirit of the time, particularly the woman question. Against the backdrop of a series of
progressive reforms on women issues that were introduced in the Soviet Union in the
1920s, the film touches upon the crucial issues any “new” Soviet woman had to grapple
with, namely, in the realms of sexual relations, production (work), and reproduction
(abortion).
In this paper, I attempt to investigate the woman question from the vantage point of
space. The film’s artistic narrative contains several dimensions of space, but first and
foremost, the poetics of “in” and “out” permeates the entire work, shedding light on
where Liuda, the heroine of the film, is and where she will be. The woman stays in a
semi-basement flat, a condition comparable to confinement. By contrast, her husband
symbolically occupies a work space out on the top of the Bolshoi Theater. The contrast
of space rich in symbolism continues all the way throughout the film, including the three
key episodes of Liuda’s outing. In the end, by means of a masterful utilization of space
on various levels, the film portrays the process of a woman’s transformation into a truly
positive “new” Soviet woman, in keeping with the social demands promoted by the Party.

참고자료

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