https://orcid.org/0000-0003-4866-7122
Кандидат исторических наук, старший научный сотрудник отдела проектных исследований Музея антропологии и этнографии им. Петра Великого (Кунсткамера) РАН:
Российская Федерация, 199034, г. Санкт-Петербург, Университетская наб., д. 3;
тел.: +7 (812) 328-08-12; e-mail: golovnev.ivan@gmail.com
This work was supported by the Russian Foundation for Basic Research (RFBR) as part of project No. 18–09–00076.
This article considers the ethnographic film “Altai-Kiji” (1929), directed by V. L. Stepanov, as a multi-layered visual anthropological document. It considers the peculiarities of the film’s narrative about the evolution of the ethnic Altai community during the period of cultural and economic transformation of the USSR at the turn of the 1920s — 1930s. This is analyzed in the context of Soviet film production and in connection with parallel processes in the state’s national cultural policy. The silent film “Altai-Kiji” is composed of approximately an equal number of film frames and text titles. Hence an effective method of analyzing the film is to see it as a “research transcript” — a conditional “translation” of the film into textual format. This makes it possible to reveal and analyze both the evolutionary features of Altaian traditional culture at the time as well as the way it was displayed in Soviet documentary film. The article concludes with a discussion of the work as a multilayered historical source that displays both the culture of those being filmed and those doing the filming — silhouettes of the culture and ideology of its time, which offers a significant artefact for scholarly investigation.
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