About this Event
In 1928, the newspaper Kino remarked on a paradox: women filled Soviet studios, yet cinema had done little to advance women’s careers. This talk traces how women sought professional identity and credit in early Soviet documentary, from the montage rooms of the 1920s to the centralised studio system of the 1930s. Drawing on personal accounts, studio records and press articles, the research follows two generations of female film workers. The first comprises cutters, editors and laboratory workers, whose labour was essential but often anonymous, even as montage was celebrated as the new creative core of Soviet cinema. The second consists of trained professionals who entered the Soiuzkinokhronika studio in the early 1930s as directors, writers and camera operators, gaining clearer career paths, wages and public recognition while operating within tighter ideological and bureaucratic constraints. Through case studies of well-known figures such as Elizaveta Svilova and Esfir Shub, alongside less familiar practitioners including Arsha Ovanesova, Ottiliia Reizman, Lidiia Stepanova and Olga Podgoretskaia, the talk asks what counted as authorship in documentary production, how women navigated gatekeeping and informal networks, and why a visible women-led documentary movement never fully formed despite women’s strong presence behind the scenes.
Kirill Goriachok is a PhD Candidate in Film and Screen Studies at the University of Cambridge and holds a Candidate of Science degree (the Russian equivalent of a PhD). He is the author of several books on Dziga Vertov published in Russian, including Miru – Glaza. Dziga Vertov. Stikhi (the first collection of Vertov’s poetry), Kinoki. Shkola Dzigi Vertova, and Zhizn vrasplokh: Istoriya sozdaniya “Cheloveka s kinoapparatom”.
Image: Elizaveta Svilova at work, Russian State Library.
Event Venue & Nearby Stays
Masaryk room, 16 Taviton Street, London, United Kingdom
GBP 0.00
