­Soviet ‘Easterns/Osterns’ of the 1920s: Adventure Films on the Caucasian Frontier of Russia

Abstract

The article elucidates the issue of representation in Soviet cinema of historical events that transpired during the formation of the Caucasian frontier and the interactions that emerged between the indigenous population and the tsarist troops. The term “Eastern” is analogous to the term “Western” which refers to films about the exploration of the Wild West. This is a useful way of conceptualizing Soviet silent films created on Caucasian material from the 19th–early 20th centuries. This article aims to examine feature films from the 1920s that depict Russia’s advance into the Caucasus. It seeks to identify similarities and differences between these films and the first Soviet “Easterns/Osterns” and “Westerns,” as well as to analyze the influence of ideological attitudes in historical science on the interpretation and depiction of events that took place on the Caucasian frontier. The visual sources utilized in this study include the silent films ‘Abrek Zaur’ (1926), ‘The Law of the Mountains’ (1927), and ‘Zelimkhan’ (1929). Additionally, published materials from the 1920s, including periodicals such as newspapers and magazines, were consulted. The study yielded insights into the stylistic similarities between classic Westerns and the first Soviet Easterns, including the portrayal of protagonists, the use of action and stunts, and the incorporation of jumps. The content of the films is correlated with real historical events, but they reflect the Bolshevik paradigm of history in the study of ethnosocial conflicts in the Caucasus. In films about highlanders, masculine culture is a dominant feature due to gender attitudes and the national cultural identity of the peoples of the Caucasus. Films about mountaineers were instrumental in shaping perceptions of the Caucasus during the early decades of the twentieth century. They illustrate the attributes of traditional culture, daily life, customs of mountain village inhabitants, the characteristics of the landscape, and architectural features. In general, films of an adventurous nature created on Caucasian material are of interest to those with an affinity for classic cinema, particularly the earliest Soviet Eastern films, as well as to researchers seeking to gain insight into significant historical and cultural information. This article is intended for those engaged in the study of the history of Soviet cinema.

Keywords

• caucasus
• frontier
• western
• soviet cinema
• eastern
• people's protector
• ethno-social conflicts
• masculine culture
• gender attitudes