Oppression of Ukrainian Cinematography during the Years of Stalinism

Abstract

The purpose of the research is to highlight the forms of pressure on Soviet cinematographers during the years of Stalinist repressions. The research methodology is based on the principles of historicism, objectivity, and a comprehensive approach. The work uses the historical-genetic method, which indicates the cause-and-effect relationships of repressive actions in relation to the specified artists. The historical-comparative method makes it possible to analyse the peculiarities of cultural policy in 1940, 1943 and 1946, to find out how the Second World War affected art and state policy in the field of cinematography. The systematic method makes it possible to understand that cinematography was a component of ideological influence on the population. The novelty of the study. For the first time, the history and creative work of Soviet cinematographers, who were natives of Ukraine and whose criticism symbolised certain stages in the ideological policy of the Communist Party, were compared. Conclusions. It was established that the process of criticism and condemnation was clearly developed in the Soviet totalitarian society. Despite the difference in professions and the subject of the work, the artists were accused of similar sins. Thus, O. Avdieienko, O. Dovzhenko, and L. Lukov were accused of distorting Soviet reality and failing to adhere to communist ideals.

Keywords: Stalinism, USSR, communist ideology, cinematography, Committee on cinematography under the Council of People's Commissars of the USSR, the Department for Agitation and Propaganda of All-Union Communist Party (Bolsheviks).