Georgian Cinema Studies
Observations, Challenges, and the Colonial Legacy
DOI:
https://doi.org/10.17892/app.2024.00019.371Keywords:
Soviet Union, Russian Empire, Georgia, early cinema, Georgian cinema, decolonisation, cultural stereotypes, Aleksandre Duduchava, military filmmaking, Simon Esadze, Russian archives, Krasnogorsk, Tbilisi, Yerevan, Vakhtang (Buba) Kikabidze, Tamaz Gomelauri, Mimino, Frunzik Mkrtchian, Giorgi DaneliaAbstract
The collapse of the Soviet Union allowed for newly critical discourse and access to archives, shedding light on the history of Soviet censorship. Previously unknown primary sources, testimonies, and official documents have entered scholarly discourse. However, narratives rooted in colonial history and present-day Russian expansionism have persisted. This article examines the established Soviet approaches towards knowledge production in film studies within the postcolonial framework and reflects on today's practices and deficiencies in reconstructing film heritage. It also critically explores Soviet Georgian films exhibiting colonial cultural codes and stereotypes. These examples illustrate the topics and the representations that played an instrumental role in establishing and strengthening colonial perspectives with the help of the film medium.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe
This work is licensed under a Creative Commons Attribution 4.0 International License.
The articles in Apparatus are published under https://creativecommons.org/licenses/by/4.0/ This license does not apply to the media referenced, which are subject to the individual rights owner's terms.
The authors hold the copyright without restrictions and retain publishing rights without restrictions.
