GB 1917, Print b/w, 35mm, 7 min, silent, BFI National Archive
A hospital run by suffragists at Villers-Cotterêts in France, shows the nurses of the NUWSS [National Union of Women's Suffrage Societies] competently treating the wounded of the Western Front. Far from waiting for the goverment to tell them how their services could be put to use, these women’s groups raised the funds and organised the operations of these hospitals. (Bryony Dixon)
R 1914, D Pyotr Chardynin, SC Aleksandr Voznesensky, C Boris Zavelev, P A. Khanzhonkov & Co. Ltd, Cast Vera Yureneva, Ivan Mozzhukhin, Maria Morskaya, Praskovya Maksimova, Print b/w, 35mm, 42 min, silent, Dutch INT with electronic German and English SUB, EYE Film Instituut Nederland
Woman doctors play a special role in the history of the women’s movement. They were the first women admitted to courses of academic study. Russian Nadezhda Suslova managed the breakthrough in 1867 at the University of Zurich. Others followed – especially Russians, who can be regarded as pioneers of women’s university studies. Woman of Tomorrow takes up this history by introducing a doctor as the woman of the future. The topic of the film, though, is the trained woman doctor practising her profession; how she lives with it and can live with it. It’s her problem, and the man she loves leaves her alone with it. He can look for compensation elsewhere, whereas she is not only an active doctor but a sought-after speaker in the struggle for women’s rights. Things that are self-evident and possible for married men – their profession takes precedence, and they have little time for their wives at home – is by no means true in the other direction, as the film shows. The woman eventually seems to face the choice between work or love. A second part of Woman of Tomorrow was filmed, showing that “tomorrow’s woman” does not revoke her decision in favour of work. Following this story to its end isn’t necessary since we have already seen that for this protagonist, love and work cannot be separated, any more than work can be separated from love. It’s a poignant moment. And the vital issue that our protagonist finally faces remains the same to this day (Heide Schlüpmann).
Accompanied on the piano by Ruth Bieri
Introduction by Barbara Wurm
Pupille – Kino in der Uni