ABSTRACT

The article explores the transformation of images of daughters-in-law in Central Asian cinema of the Soviet and post-Soviet era. The images of daughters-in-law (kelin) are laden with cultural, social and political meanings that reveal various aspects of identity and gender politics and state ideology in the Central Asian states. The kelins are seen as important symbols of the continuation of patriarchal traditions, yet they also belong to societies where debates on gender roles are becoming increasingly more pronounced. The representations of the daughter-in-law in Central Asian film, thus, has become a contested site showcasing various ideological perspectives, from discourses of female re-traditionalisation to their critique and debate.

摘要

本文探讨了苏联和后苏联时代中亚电影中儿媳形象的转变。儿媳（科琳）的形象充满了文化、社会和政治意义，揭示了中亚国家身份、性别政治和国家意识形态的各个方面。kelins被视为延续父权传统的重要象征，但它们也属于关于性别角色的辩论越来越明显的社会。因此，中亚电影中儿媳的表现已经成为展示各种意识形态观点的有争议的场所，从女性再传统化的话语到对她们的批评和辩论。