<abstract xmlns="http://www.w3.org/1999/xhtml">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.</abstract>

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.

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

Art History & Criticism

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

The Cold War that shaped the societies of late modernity had penetrated everyday life with constant messages about the nuclear threat and demonstrations of...

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

Data publikacji: 24 sty 2020

Zakres stron: 42 - 57

Otrzymano: 25 wrz 2017

Przyjęty: 10 paź 2017

DOI: https://doi.org/10.1515/mik-2017-0004

Słowa kluczowe
Kaunas Biennial, The Cold War, The Great Patriotic War, October Revolution, memorialization rituals, counter-memorial, photographic event, dislocation

© 2017 Agnė Narušytė, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

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

Data publikacji: 24 sty 2020

Zakres stron: 42 - 57

Otrzymano: 25 wrz 2017

Przyjęty: 10 paź 2017

DOI: https://doi.org/10.1515/mik-2017-0004

Słowa kluczoweKaunas Biennial, The Cold War, The Great Patriotic War, October Revolution, memorialization rituals, counter-memorial, photographic event, dislocation

© 2017 Agnė Narušytė, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Słowa kluczowe
Kaunas Biennial, The Cold War, The Great Patriotic War, October Revolution, memorialization rituals, counter-memorial, photographic event, dislocation