ТИПОЛОГИЯ ОБРАЗОВ ЖЕНЩИН ТЫЛА В ФИЛЬМЕ «ДЫЛДА» КАНТЕМИРА БАЛАГОВА

Abstract

In May 2019, the premiere of the film “Beanpole” by Russian director Kantemir Balagov, took place at the Cannes Film Festival and it became a notable event both on the French Riviera and in Russia. The drama tells the story of two young female front-line soldiers who defend their right to a decent peaceful life in post-blockade Leningrad. This movie also reveals the fate of the women in the rear who found themselves in a conflict with the returning female front-line soldiers. With the use of the descriptive-functional and comparative research methods, the authors of the article make the first attempt of scientific classification of the “women in the rear” images in “Beanpole” film from anthropological and psychological perspectives – a peasant woman Tatyana Belova and a highly-placed party worker Lyubov Petrovna. An analysis of secondary characters images helps to determine the severity of the consequences of the war, the parallel with the main heroines and adoption of the “military rules” in the post-war months, according to which, Soviet women were in the fiercest competition for men and family happiness.