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Personibas skatijuma pretmeti realitate un portrettelnieciba padomju perioda: Oficiala retorika un sleptas pretestibas intonacijas

100%

Caupova R.

Materiali Latvijas makslas vesturei

2012

vol. 8

178-185

Totalitarian regimes of the past century reveal a spectrum of perplexing social and psychological anomalies and contrasts in their attitudes towards the personality, meaning not just the individual acquiring his/her identity through the experience of socialisation but human life as such. The fine arts, being an obvious tool of propaganda, were certainly important as an ideological instrument. The portrait genre was particularly emphasised; special attention was paid to commissions of traditional portraits. Making portraits of high-ranking persons was a mark of respect that often crowned their promotion and the awarding of orders and honorary titles. Expressions of heightened optimism and sunny elation encoded in facial features was not derived from the typical traits of that personality but demonstrated superficial assumptions of what a Soviet man’s image should be like. This treatment can be considered social masquerading in order to comply with the ideological tenets. Taking advantage of the benefits related to commissioned portraits, many sculptors created rather superficial portraits of both historical persons and their contemporaries, disregarding the deeper layers of personality and character. Nevertheless, one has to admit that truly remarkable and up to date works were also created, thanks to the options of portrait commissions during that period in Latvia. Some of them, like the portrait images by Lea Davidova-Medene, manifested innovative sculptural solutions. Intonations of independence and resistance showed in sculptural portraits that focused on the spiritual power and stance of the personality. Here one should note that full-fledged portrait images embodying the individual’s personality and partly also the self in a convincing whole, is hard to render in verbal formulations. If the artist has managed to describe the model aptly and convincingly, such an image cannot be completely ideological. It may be covered with various ideological explanations, but the portrait image remains unaffected in its immanent being. Sculptors created portraits of different people, sometimes also portraying their relatives or acquaintances along with official works. However, overtones of resistance are most visible in the portraits of renowned and popular representatives of the creative professions.

Bollywood i polityka

86%

Rokicka W.

Studia Filmoznawcze

2011

vol. 32

27-34

The article focusing on the relations between Bollywood cinema and politics in India provides the analysis of Ram Gopal Varma’s films Sarkar (2004) and Sarkar Raj (2008). The films indirectly portraying the right-wing Hindu political group Shiv Sena and its leader Bal Thackeray show the violent reality of Indian politics as well as various universal political mechanisms: legitimacy of power through charismatic leadership, political control over media, information and other resources. Despite media rumours the filmmaker denies support for any political party and claims to be intrested in the power itself. Indeed, the hero Subhash Narge (Amitabh Bachchan) is an ideal example of the leader deriving from the ancient hindu script Bhagavadgita or described in modern times by a German sociologist Max Weber. In-depth analysis of the Ram Gopal Varma’s films as well as others of that gender, i.e. Vishal Bhardwaj’s Omkara and Maqbool, allows to see such phenomenon as political propaganda through cinema, censorship and auto-censorship and finally the universal relation between political power and art.

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1 Materiali Latvijas makslas vesturei

1 Studia Filmoznawcze

1 Caupova R.

1 Rokicka W.

1 2012

1 2011

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Personibas skatijuma pretmeti realitate un portrettelnieciba padomju perioda: Oficiala retorika un sleptas pretestibas intonacijas

Bollywood i polityka