SCOTTISH WOMEN’S HOSPITAL (NUWSS)

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)

×
Acronyms
amer. American English
b/w Black and white
OV Original version
SUB Subtitles
+SUB electronic live subtitling (below the image)
INT Intertitles
Countries
AT Austria
FRG Federal Republic of Germany (historic)
BLR Belarus
DE Germany
CAN Canada
GDR German Democratic Republic (historic)
EGY Egypt
FR France
GB Great Britain
URY Uruguay
BRA Brasil
SWE Sweden
UKR Ukraine
PL Poland
IDN Indonesia
PRT Portugal
HRV Croatia
ECU Ecuador
HUN Hungary
AUS Australia
IT Italy
MEX Mexico
IND India
ZHENSHCHINA ZAVTRASHEVO DNYA
WOMAN OF TOMORROW

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

×
Acronyms
amer. American English
b/w Black and white
OV Original version
SUB Subtitles
+SUB electronic live subtitling (below the image)
INT Intertitles
Countries
AT Austria
FRG Federal Republic of Germany (historic)
BLR Belarus
DE Germany
CAN Canada
GDR German Democratic Republic (historic)
EGY Egypt
FR France
GB Great Britain
URY Uruguay
BRA Brasil
SWE Sweden
UKR Ukraine
PL Poland
IDN Indonesia
PRT Portugal
HRV Croatia
ECU Ecuador
HUN Hungary
AUS Australia
IT Italy
MEX Mexico
IND India
Ruth Bieri

Ruth Bieri is a freelance pianist, keyboard player and composer based in Zürich, Switzerland. For over 30 years, she has been heavily involved in music projects. She has played and continues to play in diverse formations at home and abroad as well as composing for film and theatre. In 1993, she founded Serpent (known today as Women in Music) in Zürich – the first ever rock, pop and jazz academy for women in the DACH countries – where Bieri provided vital impulses in her ten-year tenure as an instructor and academy director. The common thread running through her musical career is her passion for combining music with images or language. Her extraordinary gift for spontaneously inventing and varying musical themes finds expression in her work as a live accompanist for silent films.

Barbara Wurm

Barbara Wurm is an author and curator and studied Slavic studies in Vienna, Moscow, Munich and Leipzig, among other places. She worked on the selection committees of DOK Leipzig and the International Short Film Festival Oberhausen, currently works for the goEast Film Festival and the Berlin International Film Festival, and programs for various film festivals and cinematheques. As an Eastern European film expert, she has written a doctoral thesis on Soviet cultural film and edited books on Dziga Vertov, among others. Her main areas of research and teaching at the Humboldt University of Berlin are Eastern European cultural studies and the theory and history of film. She writes film reviews for newspapers and professional publications.

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