소비에트 전쟁영화의 여성 서사, 타지키스탄 영화 «오랜 전쟁의 짧은 만남들»(1975) 분석

초록

This thesis aims to analyze how the 1972 Tajik film Short Encounters on a Long War reconfigures the generic conventions of the Soviet war film and paradoxically constructs the multi-layered subjectivity of its female hero, Gulshod, within the narrative frame of a male memory. The film unfolds its narrative through the subjective memory of a male narrator. However, its non-linear and cyclical structure not only reveals the trauma of war but also functions as an ideological mechanism that integrates individual liberation into the national narrative by transforming the meaning of the “homeland” from a space of oppression to a foundation for liberation. This study argues that Gulshod’s heroism is not merely demonstrated in her battle against fascism but is forged through a lifelong, multi-faceted struggle against traditional patriarchy, institutional sexism within the military, and the ideological control exerted in the name of love. Furthermore, it examines how the film's visual language, rooted in poetic realism - particularly through the symbolic opposition of Earth(oppression) and Sky(freedom) and the use of light - deepens the protagonist's internal journey and the film's central themes. In conclusion, this research demonstrates that Short Encounters on a Long War is a liminal work that challenges the traditions of the Soviet war film while remaining within its ideological confines. As such, it offers a profound meditation on how a woman's memory and struggle are represented and acquire meaning within a male-centric history.

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