{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:DOC-DDNI3EBF/e02cd1a5-dd40-4a62-9c6a-fd53f6999f53/PDF","dcterms:extent":"216 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:DOC-DDNI3EBF/33f37234-817f-4c45-8297-87f412108daa/TEXT","dcterms:extent":"57 KB"}],"edm:TimeSpan":{"@rdf:about":"1984-2025","edm:begin":{"@xml:lang":"en","#text":"1984"},"edm:end":{"@xml:lang":"en","#text":"2025"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:DOC-DDNI3EBF","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/URN:NBN:SI:spr-LRR6C6LY"},{"@xml:lang":"sl","#text":"Družboslovne razprave"}],"dcterms:issued":"2017","dc:creator":"Majsova, Natalija","dc:format":[{"@xml:lang":"sl","#text":"letnik:33"},{"@xml:lang":"sl","#text":"številka:84"},{"@xml:lang":"sl","#text":"str. 49-65"}],"dc:identifier":["ISSN:0352-3608","COBISSID:34935645","URN:URN:NBN:SI:doc-DDNI3EBF"],"dc:language":"en","dc:publisher":[{"@xml:lang":"sl","#text":"Fakulteta za družbene vede"},{"@xml:lang":"sl","#text":"Slovensko sociološko društvo"}],"dc:subject":[{"@xml:lang":"sl","#text":"Filmske režiserke"},{"@xml:lang":"en","#text":"Perestroika"},{"@xml:lang":"sl","#text":"Perestrojka"},{"@xml:lang":"sl","#text":"Ruski film"},{"@xml:lang":"en","#text":"Russian motion pictures"},{"@xml:lang":"en","#text":"woman"},{"@xml:lang":"en","#text":"Women motion picture directors"},{"@xml:lang":"sl","#text":"ženske"},{"@rdf:resource":"http://www.wikidata.org/entity/Q467"}],"dcterms:temporal":{"@rdf:resource":"1984-2025"},"dc:title":{"@xml:lang":"sl","#text":"Re-reading cinema of perestroika| beyond socio-historical trauma with Olga Zhukova and Iskra Babich|"},"dc:description":[{"@xml:lang":"sl","#text":"Cinematography of perestroika (and the early post-Soviet period) entails mixed terrain, often described as a socially-critical \"black wave\" - chernukha; the period saw an unprecedented number of works by female directors, which remain to be addressed by film scholarship. This article examines the cinematic opus of Olga Zhukova (1954-) who produced five feature films in the period 1990-1994. This article discusses her films, which were not well received by critics and accused of being pretentious and artificial, alongside another Soviet director, Iskra Babich (1938-2001). I re-examine the formation of Zhukova's cinematic speech, focusing on the interplay of the audio-visual and corporeal, to argue that her works create specific timespaces which defy the immediate socio-political references provided by the seemingly formative linear narratives, and bypass the patriarchal dichotomies underpinning the latter"},{"@xml:lang":"sl","#text":"Kinematografijo perestrojke in zgodnji postsovjetski film pogosto označujejo kot družbeno-kritični \"črni val\" oz. obdobje černuhe. Gre tudi za neprimerljivo plodno obdobje za ženske režiserke, katerih filmi niso pogosta referenca filmskih analitikov. V članku analiziramo filmski opus Olge Žukove (1954-), ki je v obdobju 1990-1994 posnela pet celovečercev. Kritiki so njena dela sicer označevali kot pretenciozna in izumetničena, v članku pa jih obravnavamo v kontekstu dela druge sovjetske režiserke Iskre Babič (1938-2001), pri čemer izpostavljamo posebnosti filmske govorice filmov Žukove s posebnim poudarkom na prepletih avdiovizualnega in telesnega. Ugotavljamo, da režiserka z določenimi prijemi vzpostavlja posebne časovne prostore, ki se upirajo površinskim družbeno-političnim referencam, ki jih daje linearnost narativa, tako pa tudi patriarhalnim dihotomijam slednjega"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:DOC-DDNI3EBF","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:DOC-DDNI3EBF"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:DOC-DDNI3EBF/e02cd1a5-dd40-4a62-9c6a-fd53f6999f53/PDF"},"edm:rights":{"@rdf:resource":"http://rightsstatements.org/vocab/InC/1.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Slovensko sociološko društvo"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:DOC-DDNI3EBF/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:DOC-DDNI3EBF"}}}}