Past deformations of "Brezhnevian stagnation" in Lithuanian cinema and TV fiction films (1968-1980)
Lietuvos istorijos studijos,
The objective of this work is to identify collective memory shapes in Lithuanian fiction TV and cinema film during brezhnevian period (1968-1980). According to new popular theoretical approaches this work analyses the specific source of history - fiction film - so why his research brings Lithuanian fiction film up-to-date usual resources of history. According to the research conclusions, there are made new methodical approaches, which can help to classify fiction films in which it can be seen past representations. In other hand, analysis of archival origins helps to reconstruct soviet film industry system of Lithuania (censorship, the specific "controlgear" of films) and contextual analysis, which identifies the main political and creative displacements. Film content research helps to identify the reconstructions of past and it's sociohistorical approaches.
Detailed analysis of Lithuanian movies of the soviet epoch allows suggesting the following classification of movies about the past: 1) historical movies that picture the past; 2) “historical cover” involves movies that analyse issues of then presence; serve only as a cover; 3) “interhistorical” movies, where past stories mix with then presence; and 4) “relevant issues of the past”; these are movies that develop the store of then presence and involved relevant issues of the past. In 1968-1969, stricter censoring restored imaging based on “socialistic realism”. Subject plans stricter required the implementation of enforced subjects (work, production, sports). Movies of 1969-1980 experienced the influence of romantism, which conditions choosing certain periods of the past. Movies of 1969-1890 featured the following characteristics: a) further reconstruction of the past replaces the history of the 20th c.; b) heroes inspiring communist fighting are replaced by heroes fighting and scarifying for truth and freedom; c) actualisation of the occupation is replaced by moral and ethical issues; d) “presence” features problems of the after war. Creations of this period do not feature bright dominants. The subject of the after war losses oppositional moods of 1960-1968 based on politically relevant issues that were replaced by “moral worry”: public passiveness, fault, individual searches, etc. Places of historical memory may be identified having evaluated of other areas of LSSR that influenced the development of the cinematography of the LSSR.