BASIC IMAGES OF SOVIET AND POST-SOVIET CINEMATOGRAPHY ABOUT THE GREAT PATRIOTIC WAR AS ELEMENTS OF THE NATIONAL RUSSIAN IDENTITY
( Pp. 73-80)

The Great Patriotic War is one of the pillars of modern Russian identity. Domestic cinema for over 70 years forms its outlines. During the time, the memory of the war is becoming more and more mythological. The basic images of the myth of the past war help to see the features of the perception of war in the Soviet and post-Soviet cinema.Collective memory often absorbs the individual memory and deforms it. The desire to fix the content of collective memory, testifies to its disappearance and turning into history. Thus, the past is not reproduced, every time, invariably historians and cinematographers, and reconstructed, based on the needs of the present.Such phenomena in modern theory are called commemorative acts. This is a celebration of anniversaries, memorial services for the dead, observance of religious rites. Such acts maintain a sense of continuity in the society, revive memories, while deforming them. Some facts that may be insignificant or dangerous for the unity of the group are hushed up and eventually forgotten.In order to more clearly see and comprehend ideas about the Great Patriotic War in Soviet cinema, it is necessary to single out several basic images that are present in almost every picture, but change under the influence of an era, a director's vision and viewer expectations. In our opinion, these are “War”, “Enemy”, “Head”, “Army” and “Friends”. They are reflected in both the commemorative films and in the revisionist movies that appeared in the post-Soviet era.The experience of the war was so traumatic that its perception and reflection by means of cinema began to change quite quickly. Part of it was displaced under the influence of the post-traumatic syndrome, it was not noticed, and the part began to make out. Pronouncing is an important element in overcoming any psychological trauma. He also went through the means of cinema.In the modern Russian memorial cinema problematization of the enemy's image is still practically not happening. Soldiers and officers exist either as cogs of a German military machine, or are almost not present in the frame, representing an invisible threat.The absence of problematization of violence is another characteristic feature of memorial films. Revisionist movies, on the contrary, try to outline such problematization, to understand and show what the person felt. One of the most difficult subjects, tabooed by mythology, is the fate of people caught in the occupied territories and especially in the ranks of collaborators.In contemporary Russian cinema, both the memorial and revisionist trends continue to coexist. At the same time, state support is received, first of all, by pictures of the memorial area, bypassing complicated subjects and avoiding rethinking of traumatic experience.

Lyamzin A.V., (2019), BASIC IMAGES OF SOVIET AND POST-SOVIET CINEMATOGRAPHY ABOUT THE GREAT PATRIOTIC WAR AS ELEMENTS OF THE NATIONAL RUSSIAN IDENTITY. History and Modern Perspectives, 1 => 73-80.

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