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Tsyrlina’s radical found footage film subjects frames and sequences taken from Soviet propaganda about women’s equality to a cinematic archaeology, unearthing a sensuous and discreetly subversive movement within the material’s interstices and ellipses.
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Tsyrlina’s radical found footage film subjects frames and sequences taken from Soviet propaganda about women’s equality to a cinematic archaeology, unearthing a sensuous and discreetly subversive movement within the material’s interstices and ellipses.
