Abstract
ABSTRACTIn this article, I analyse cinematic time and space and their interaction, in which nation-ness is articulated as a unifying identity in the epic films Lāčplēsis/Bear-Slayer (Latvia, Aleksandrs Rusteiķis, 1930) and Noored Kotkad/Young Eagles (Estonia, Theodor Luts, 1927, digitally remastered in 2008). In discussing the timespace organization of nation-ness in these films, I address representations of the political ‘birth of a nation’ and modern national identity. I discuss the ways in which the narratives in Young Eagles and Lāčplēsis re-claim a traditional gender binary, predicated on a splitting and differentiating relationship with Otherness, embodied in the sexual threat of male enemy figures and enacted in history, politics and ethnicity.
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