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By Helena Goscilo, Yana Hashamova

Discursive practices in the course of conflict polarize and politicize gender: they commonly require males to satisfy a unmarried, overriding activity spoil the enemy yet impose a chain of usually contradictory expectancies on ladies. The essays within the ebook determine hyperlinks among political ideology, background, psychology, cultural stories, cinema, literature, and gender experiences and addresses questions resembling what's the function of ladies in struggle or army conflicts past the well-studied victimization? Can the customarily contradictory expectancies of girls and their conventional roles be (re)thought and (re)constructed? How do cultural representations of girls in the course of battle instances demonstrate conflicting wishes and poke holes within the ideological equipment of the nation and society?

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S her lever te switch eff his terch. h a visual spectacle? Is this decisien ebedient te the legic ef a natienal disceursc accerding te which enly a male here can die a spectacular death? Ur is it a radical attempt te escape this natienal scenarie arid the narrative ef the film itself? 'il'l"l1en Wise cemplies with her request that he e:-ttinguish his terch she finally acquires eentrel ever him as well as his stery. In a sense she alse acquires eentrel ever the cinematic narrative. The screen turns tIIfl1'l-I, tearing apart the selid fabric ef the centinueus narrative.

It is unly when she lies un the fluur in the thrues uf labur arid asles lviichal fur help that her uncanny resemblance tn his late wife, Helena, becumes evident. Tellingly, she is played by the same actress, Maiguraata Hraunele. 5 j In buth instances, [5 Du the gendering uf muuming rituals see Helena Eruscilu, “Playing Dead: The Uperatics uf Celebrity Funerals, ur, The Liltimate Silent Part" (EDGE, 313, n. ll}. 6. 'ski’s Third Part uf the Night {Ttzecia czese nucy. ) wnmen"s blnud, uvertly displayed in highly saturated culur, signifies female death as well as birth.

After cumpleting three films with ‘tliiajda, he made his uwn directurial debut in l9'i'l with Billie ’l'"ia'ra' Farr cf the fsfijeftt, a visiunary film re—enacting the experience uf the Secund ‘Wttrld War as it has never been shuwri befnre. l3 Often seen as a pulemic against the Pelish Film Schuul, the film ended ii'lulass=ski’s friendship with ‘Wajda, whu disliked the fil1n‘s narra- tive structure and insisted un the eliminatiun uf its tempural ambiguities. Had Eulawslti cumplied, the film wuuld inevitably have lust its hallucinatnry effect.

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