Realism with Gaze-Appeal: Lenin, Children, and Photomontage

IF 0.1 Q3 HISTORY JAHRBUCHER FUR GESCHICHTE OSTEUROPAS Pub Date : 2019-01-01 DOI:10.25162/JGO-2019-0002
S. Oushakine
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引用次数: 2

Abstract

During the first decade after the Russian Revolution, the new Soviet state went through a major mediatization campaign. Deploying various genres and platforms, the state created a diverse network of institutions and mechanisms that could represent and disseminate important Communist ideas and concepts. The essay explores only one dimension of this campaign: the radical turn towards the optical in the early Soviet media. More specifically, it traces the transformation of photomontage by looking closely at a distinctive genre of the illustrated book: the so-called Leniniana for children. Lenin’s death in 1924 generated a wave of publications for children in which their own stories, recollections, and poetry about the leader were accompanied with texts written by adults. Often, these textual collages were interspersed with photo-illustrations and photomontages that prominently featured Lenin surrounded by children. Amalgamating ideology, text, painterly devices, and photographic images, photomontages in children’s literature offered convincing visual models of plausible belonging and connectedness for the young reader: realist and spectacular at the same time. As the essay suggests, the 1924-25 memorial media campaign was instrumental in merging the abstract language of the Russian avant-garde with the concrete visual idioms of the documentary photography. In the memorial books, the Communist abstraction was concretized: the utopian future found its embodiment in multiple images of the first Soviet generation.
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现实主义与凝视的吸引力:列宁,儿童和蒙太奇
在俄国革命后的第一个十年里,新的苏维埃国家经历了一场大规模的调解运动。国家利用各种形式和平台,建立了代表和传播共产主义重要思想和理念的多种机构和机制网络。这篇文章只探讨了这场运动的一个方面:苏联早期媒体对光学的激进转向。更具体地说,它通过仔细观察一种独特的插图书类型来追溯蒙太奇的转变:所谓的儿童Leniniana。1924年列宁的去世引发了一波针对儿童的出版物,在这些出版物中,他们自己关于这位领导人的故事、回忆和诗歌都附有成年人写的文字。通常,这些文字拼贴画中穿插着照片插图和蒙太奇,突出的是列宁被孩子们包围的画面。儿童文学中的照片蒙太奇融合了意识形态、文字、绘画手段和摄影图像,为年轻读者提供了令人信服的视觉模型,为他们提供了看似合理的归属感和联系:现实主义和壮观的同时。正如这篇文章所指出的,1924- 1925年的纪念媒体运动有助于将俄罗斯先锋派的抽象语言与纪实摄影的具体视觉习惯相结合。在纪念册中,共产主义的抽象被具体化了:乌托邦式的未来在第一代苏联人的多重形象中得到体现。
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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