Dislocation: The Conflict of Photographic and Cinematographic Representations of War in Soviet Lithuania

Q3 Arts and Humanities
Agnė Narušytė
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引用次数: 0

Abstract

Summary The Cold War that shaped the societies of late modernity had penetrated everyday life with constant messages about the nuclear threat and demonstrations of military power. On the one hand, Soviet republics such as Lithuania were occupied by the enemy of Western democracies, and the nuclear threat would apply to their territory as well. On the other hand, many people secretly sided with the West. But information about the world behind the Iron Curtain was filtered ideologically. Images of Vietnam War and civil unrest in Western countries were broadcasted by the state controlled media as a counterpoint to the orderly and optimistic Soviet life idealised in chronicles and photographs. This positive image was shown to rest on the victory of the Great Patriotic War as well as October Revolution. Those events were represented by iconic monuments in the public space as well as by memorialization rituals taking place every half-year. Their visual documentation was an important part of Soviet culture. Photo journalists like Ilja Fišeris were assigned to record the parades of May the 1st, the 9th and November the 7th. Art photographers treated such images as a tribute to authorities exchanged for a measure of artistic freedom. But in the 1980s, the memorialization rituals, the monuments and other ideological signs became the focus of “rogue” art photographers and cinematographers: Artūras Barysas-Baras, Vytautas Balčytis, Vitas Luckus, Alfonsas Maldutis, Algirdas Šeškus, Remigijus Pačėsa and Gintaras Zinkevičius. Their ironic and reflective images worked as dislocating counter-memorials against the stale reconstructions of the past. Referring to theories of Svetlana Boym, Verónica Tello and Ariella Azoulay, the paper discusses the complicated relationships between the different memorializations of war, including the absence of the Holocaust in collective memory.
错位:苏联立陶宛战争的摄影和电影表现的冲突
塑造了晚期现代社会的冷战已经渗透到日常生活中,不断有关于核威胁和军事力量展示的信息。一方面,像立陶宛这样的苏维埃共和国被西方民主国家的敌人占领,核威胁也将适用于他们的领土。另一方面,许多人暗地里站在西方一边。但是关于铁幕背后世界的信息被意识形态过滤了。越南战争和西方国家内乱的画面被国家控制的媒体播放,作为编年史和照片中理想化的有序乐观的苏联生活的对照。这种正面的形象是建立在卫国战争和十月革命胜利的基础上的。这些事件由公共空间的标志性纪念碑以及每半年举行一次的纪念仪式来代表。他们的视觉记录是苏联文化的重要组成部分。Ilja Fišeris等摄影记者被指派去记录5月1日、9日和11月7日的游行。艺术摄影师把这样的图像视为对当局的致敬,以换取一定程度的艺术自由。但在20世纪80年代,纪念仪式、纪念碑和其他意识形态标志成为“流氓”艺术摄影师和电影摄影师的焦点:Artūras Barysas-Baras、Vytautas bal ytis、Vitas Luckus、Alfonsas Maldutis、Algirdas Šeškus、Remigijus Pačėsa和Gintaras zinkevi ius。他们的讽刺和反思的形象作为混乱的反纪念反对陈旧的重建过去。参考Svetlana Boym, Verónica Tello和Ariella Azoulay的理论,本文讨论了不同战争纪念活动之间的复杂关系,包括大屠杀在集体记忆中的缺失。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Art History and Criticism
Art History and Criticism Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.30
自引率
0.00%
发文量
7
审稿时长
24 weeks
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