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The cinema includes, above all, the contemporary social and cultural historicity of the time when it is made, because the cinema is the branch of arts which is considered as a method of recording time. In this respect, analysis of the film should be considered in all aspects of not only the director's idea and message, but also social and cultural context. Moreover, to appreciate russian cinema appropriately, understanding significant meaning which contains cultural context must be done in advance. It is clearly demonstrated in the history of russian cinema, especially in the case of idolization and iconoclasm of the image of Stalin.
Stalin, who was well aware of the ability of the cinema to create definite images, used it to make his own image as a powerful leader. As Stalin came into power, 'Cinematic Stalinism' controled all aesthetic elements of cinema of that period. The image of Lenin as the father of socialistic ideology was denied or underestimated, and Lenin's role was removed and weakened by Stalin in such films as〈Lenin in October〉(1937) and 〈Lenin in 1918〉(1939). At the same time, in 〈Pledge〉(I946), Stalin professed to be a valid and fair successor of Lenin, and in 〈Chapaev〉(l934), the system of value was established by the way Stalin decided all immanent social values. Passing by The World War II, Stalin could become not only a socialistic ideological leader, but also a powerful national leader who struggles with Nazi German. In 〈The Fall of Berlin〉(I949), Stalin's mythological superhuman image was maximized and Stalin was depicted into a deiform being who embodies both 'the Russian Socialism' and 'the National Bolshevism'. In the event, russian cinema, under rule of Stalin, justified the Stalin's reigns and functioned as the cultural text, which connotes social and cultural condition in praise of Stalin.
After death of Stalin in 1953 began the new tendency in russian cinema, which could be characterized as 'an absence of father' or 'an iniquitous father'. As generally known, Stalin attempted to make his image as 'the father-Tsar' or 'the father-leader', consequently, the negation of Stalin strengthened the alternative concept 'Mat'-Rodina', which is traditional idea in the russian culture. 〈The Ivan's childhood)(l96l) erases Stalin's code as 'father-leader' by emphasis on the image of 'Mat'-Rodina'. Besides,〈I walk around Moscow) (1963) expresses the abasement of Stalin's culture, using the symbol of times and the image-sign. In this film, the Moscow subway that is one of the most grand legacies of Stalin's time is directly connected with the image of 'underground space' and the sign of 'Exit' which symbolizes the escape from Stalin's dark culture. On the other hand. the liquidation of the image of Stalin means the restoring the image of Lenin in the cinema. In 〈At home among strangers, a stranger among his own〉(l974), Lenin came back again to the place of ideological 'father-leader'. Contrary to this, now Stalin is connected with the image of iniquitous father Or leader. In 〈Burnt by the sun〉(1994), Stalin is shown as the sign of iniquitous leader, with whom people are worn out and disillusioned. 〈Thief〉(l997) also implies the image of Stalin as an iniquitous father, who once pursued centralization and now is driven out of the edges. Moreover, in this film, Stalin is shown partly, that is, his face is cut by the frame. It creates deformed image of Stalin, meaning deformity of Stalin and Stalin's time. Besides, georgian film 〈Repentance〉(1984) depicts the reign of terror by Stalin in the 1930's. It is remarkable that the pioneering minority cinema illuminates the time and the culture of Stalin by the style of surrealism. As illustrated above, from the death of Stalin to these days, russian cinema comprehends cultural meaning of destroying idolization of Stalin. Whether this rewriting history is under the aspect of image-sign or the aspect of narrative, all it is common to rewrite the image of Stalin.
Thus, what is examined in this paper is the meaning of cinema as the synthetic cultural text, concretely, how stalin's cultural myth was created and destroyed in russian cinema. It is a clear example of function of cinema. which should be understood in cultural and social context.
Stalin, who was well aware of the ability of the cinema to create definite images, used it to make his own image as a powerful leader. As Stalin came into power, 'Cinematic Stalinism' controled all aesthetic elements of cinema of that period. The image of Lenin as the father of socialistic ideology was denied or underestimated, and Lenin's role was removed and weakened by Stalin in such films as〈Lenin in October〉(1937) and 〈Lenin in 1918〉(1939). At the same time, in 〈Pledge〉(I946), Stalin professed to be a valid and fair successor of Lenin, and in 〈Chapaev〉(l934), the system of value was established by the way Stalin decided all immanent social values. Passing by The World War II, Stalin could become not only a socialistic ideological leader, but also a powerful national leader who struggles with Nazi German. In 〈The Fall of Berlin〉(I949), Stalin's mythological superhuman image was maximized and Stalin was depicted into a deiform being who embodies both 'the Russian Socialism' and 'the National Bolshevism'. In the event, russian cinema, under rule of Stalin, justified the Stalin's reigns and functioned as the cultural text, which connotes social and cultural condition in praise of Stalin.
After death of Stalin in 1953 began the new tendency in russian cinema, which could be characterized as 'an absence of father' or 'an iniquitous father'. As generally known, Stalin attempted to make his image as 'the father-Tsar' or 'the father-leader', consequently, the negation of Stalin strengthened the alternative concept 'Mat'-Rodina', which is traditional idea in the russian culture. 〈The Ivan's childhood)(l96l) erases Stalin's code as 'father-leader' by emphasis on the image of 'Mat'-Rodina'. Besides,〈I walk around Moscow) (1963) expresses the abasement of Stalin's culture, using the symbol of times and the image-sign. In this film, the Moscow subway that is one of the most grand legacies of Stalin's time is directly connected with the image of 'underground space' and the sign of 'Exit' which symbolizes the escape from Stalin's dark culture. On the other hand. the liquidation of the image of Stalin means the restoring the image of Lenin in the cinema. In 〈At home among strangers, a stranger among his own〉(l974), Lenin came back again to the place of ideological 'father-leader'. Contrary to this, now Stalin is connected with the image of iniquitous father Or leader. In 〈Burnt by the sun〉(1994), Stalin is shown as the sign of iniquitous leader, with whom people are worn out and disillusioned. 〈Thief〉(l997) also implies the image of Stalin as an iniquitous father, who once pursued centralization and now is driven out of the edges. Moreover, in this film, Stalin is shown partly, that is, his face is cut by the frame. It creates deformed image of Stalin, meaning deformity of Stalin and Stalin's time. Besides, georgian film 〈Repentance〉(1984) depicts the reign of terror by Stalin in the 1930's. It is remarkable that the pioneering minority cinema illuminates the time and the culture of Stalin by the style of surrealism. As illustrated above, from the death of Stalin to these days, russian cinema comprehends cultural meaning of destroying idolization of Stalin. Whether this rewriting history is under the aspect of image-sign or the aspect of narrative, all it is common to rewrite the image of Stalin.
Thus, what is examined in this paper is the meaning of cinema as the synthetic cultural text, concretely, how stalin's cultural myth was created and destroyed in russian cinema. It is a clear example of function of cinema. which should be understood in cultural and social context.
목차
Ⅰ. 머리말
Ⅱ. 영화이미지를 통한 스딸린 우상의 창조
Ⅲ. 스딸린 우상의 파괴와 역사다시쓰기
Ⅳ. 맺음말
참고문헌
Abstract
참고문헌 (30)
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