CONTENTS Introduction Primers in Soviet Modernity: Depicting Communism for Children in Early Soviet Russia 3 Serguei Alex. Spotlighting three thematic threads - communist goals, pedagogy, and propaganda - The Pedagogy of Images traces the formation of a mass-modern readership through the creation of the communist-inflected visual and narrative conventions that these early readers were meant to appropriate. Communist in its content, it was often avant-gardist in its form. A vehicle of ideology, object of affection, and product of labour all in one, the illustrated book for the young Soviet reader emerged as an important cultural phenomenon. Relying on a process of dual-media rendering, illustrated books presented propaganda as a simple, repeatable narrative or verse, while also casting it in easily recognizable graphic images. Children's books provided the basic vocabulary and grammar for understanding new, post-revolutionary realities, but they also taught young readers how to perceive modern events and communist practices. ![]() These early books for children were the ABCs of Soviet modernity creatively illustrated and intricately designed, they were manuals and primers that helped the young reader enter the field of politics through literature. In the 1920s, with the end of the revolution, the Soviet government began investing resources and energy into creating a new type of book for the first generation of young Soviet readers. This filmic intervention further offers an important platform for public debate on Romania’s Holocaust memory and is of significance for European public memory, as it proposes the film happening as a distinct and innovative practice of public engagement with history. Through a careful framing of this film in relation to Romanian public memory of World War II, and in connection to the popular new wave cinema, I will contend that Jude’s work acts, perhaps unwittingly, to intervene in public memory and invites the Romanian public to face up to and acknowledge the nation’s perpetrator past. The sources include a little-known diary of Emil Dorian, a Jewish medical doctor and writer from Bucharest, a collection of photographs depicting scenes from Romanian daily life in the 1930s and 1940s, and recordings of political speeches and propaganda songs of a Fascist nature. Learn about other types of metaphors in our next article where we break down iconic examples that will help spark ideas for your next project.This article provides a close analysis of Radu Jude’s The Dead Nation (2017), a documentary essay that brings together authentic archival sources documenting the persecution and murder of Jews in World War II. Visual metaphors are only one type of metaphor employed by screenwriters and filmmakers. ![]() His work’s longevity proves that visual metaphors are certainly worth your time. To this day, directors still borrow from his movies and theoretical writing. But by viscerally depicting it through a visual metaphor, he is prompting the audience to arrive at the conclusion themselves, whether they know it or not.Įisenstein’s use of intellectual montage, and visual metaphor, made him one of the most important filmmakers of all time. ![]() Thus, the two parties could only exist in conflict.Ī bit heady, right? If Eisenstein tried to spell this out explicitly, he’d most likely lose the audience. Furthermore, just as it is the slaughterhouse’s job to kill cows, it was the imperial army’s job to persecute workers it’s simply the nature of their sociopolitical position. This metaphor informs one of the themes of Strike: the Tsarist regime was an enemy of the proletariat. ![]() Through editing, Eisenstein creates a visual metaphor: the workers are being killed like cattle. Here, Eisenstein pares footage of workers being killed by soldiers with cattle being killed at a slaughterhouse.
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