Abstract
Azerbaijani cinema is considered in the article as a phenomenon of national Art in the transit period on the cross of avant-garde trends of the 1920s and the ‘great’ Stalinist style of the first half of the 1930s. That time film directors of the republic like many others in the Soviet Union were focused on ‘the women’s issue’. The local specifics combined with the cross-cultural and interregional dialogue in cinema formed the common thematic tasks that were all across the Soviet Union but the same time, local and national specific emerged on the screens. The article studies four films that explore the ‘female space of freedom’ such as: “In the Name of God” by A.-M. Sharifzadeh,1925; “Sevil” by A. Bek-Nazarian,1929; “Ismet” by M. Mikayilov, 1934 and “Almaz” by A.-R. Kuliev and G. Braginsky, 1936. The approach provides an opportunity to uncover two issues: historical and methodological. On the one hand, the study of early Azerbaijani films allows to deeper the understanding of the social processes that took place in the region and the ways of its representation in Soviet cinema. On the other hand, the study demonstrates the general process of interdisciplinary migration of concepts and related theories, shows the phenomenon of national cinema through the prism of interdisciplinary ideas and concepts.
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