Sovietmečio fotografijos ir kino interpretacijų XXI a. problemos

ENVia comparative analysis of researches of the Soviet-era photography and cinematography, the article discusses how the concept of authors promoting ideas is perceived in the 21st century, as well as examines issues of socio-political and aesthetic evaluation of works and looks at interpretive accesses to two above-mentioned artistic fields that are similar by the means of expression. Issue of conscience and compromises in the Soviet cinema industry is particularly sensitive because other art fields were not so closely monitored and censored. Movies of Lithuanian directors were edited, shortened, recreated, and attempts to preserve the original idea often ended up with a ban. Although photography has also undergone censorship and was also used for Soviet ideology propaganda, artistic status of works by Soviet-era photographers is not being questioned today. In contrast, evaluation of filmmakers’ heritage is still a highly controversial topic.Viewpoints are shaped by interpretation and cultural communication. Heritage institutions with photography collections prioritize artistic value and stimulate change in its definition. Scientific references also influence public opinion of Soviet-era photography. Research of photography is based on interdisciplinary methods which combine analyses of form, content, and socio-political context of work. Thereby it forms adequate aesthetic discourse for the 21st century viewer. Soviet-era cinema research has so far faced only politicized assessments, while searching for evidence of either collaboration with Soviet ideologists or opposition to the government. As a result impartial relations with analysed works are lost. Because of this approach movies are imprisoned by the lack of freedom of the past. Moreover, concept of either demonisation or victimisation of analysed objects prevents contemporary interpretation. Studies and publicity of cinematography heritage are much more passive than photography, although recovering. As a result Lithuanian cinema still lacks stylistic analysis and researches of its cultural and social contexts.