Public defence in Costume Design, MA Alexandra Ovtchinnikova

Title of thesis: Dressing Poetics: The Costume-Image in Soviet Poetic Cinema
Doctoral student: Alexandra Ovtchinnikova
Opponent: Associate Professor Joshua First, University of Mississippi, USA
Custos: Professor Sofia Pantouvaki, Aalto University School of Arts, Design and Architecture, Department of Film

In her doctoral thesis 'Dressing Poetics: the Costume-Image in Soviet Poetic Cinema' Alexandra Ovtchinnikova sheds light on the often-overlooked role of costume in Soviet poetic cinema, revealing how costume shapes the distinct visual worlds of these highly imaginative films. The work foregrounds a small group of Soviet filmmakers from the 1960s, known for their bold stylistic experimentation, use of ethno-national motifs, and innovative cinematic techniques. It uncovers how costume design plays a pivotal role in the creation of these films’ unique visually arresting imagery. 

The research centers on three key films that showcase the profound impact of costume design on Soviet poetic cinema’s visual style: 'The Colour of Pomegranates' (1969) by Sergei Parajanov, 'The Plea' (1967) by Tengiz Abuladze, and 'The Eve of Ivan Kupalo' (1968) by Yuri Illienko. Through these films, the thesis explores how costumes define both the artistic and narrative dimensions of the cinematic experience. From the intricate designs of costume designer Lidiya Baykova to Parajanov’s own hands-on contributions, this research highlights costume as a vital element of mise-en-scène—the arrangement of everything visible on screen—revealing how costume shapes the mood, themes, and storytelling of Soviet poetic cinema. In doing so, this research proposes to position an expressive, or ‘painterly’, approach to costume design as one of the central elements that characterize the Soviet poetic cinema as a whole. 

By focusing on what the author calls the 'costume-image', this study reframes costume as more than just a physical garment, exploring it as an artistic element that shapes the film imagery for expressive effect, instead. The concept of costume-image offers a new methodological tool for analyzing how costumes interact with film style, opening new avenues for scholars and filmmakers alike to rethink the relationship between costume design and film. In doing so, this work represents a significant contribution to the fields of Soviet cinema studies and film costume design, offering a fresh approach that underscores the artistic and affective power of costume as part of a film medium.

Keywords: Soviet poetic cinema, costume design, costume-image, film style and aesthetics, Soviet cinema, modernist cinema 1960-1980.

Thesis available for public display 10 days prior to the defence at: https://aaltodoc.aalto.fi/doc_public/eonly/riiputus/

Doctoral theses in the School of Arts, Design and Architecture: https://aaltodoc.aalto.fi/handle/123456789/54

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