The Construction of the Figures of the Political Discourse in the Soviet Cinema of 1920''s
The formation processes of figures of political discourse in the silent Soviet cinema of the 1920's are researched in this article. Those processes have had much influence over the formation of the canonical images of revolution and socialistic development of the first years after October Revolution, they also influenced the formation of the images used in socialist realism cinema. During the research process we paid much attention to the nonfiction films of the era which are comparatively unexamined by the Russian scientific community. There is a special structure in the early Soviet cinema which is quite close to the structure of the myth and which defines old-regime and revolutionary sides of conflict through functional and ethical differentiating. The formation of this binary opposition is achieved through the use of two major instruments: generalization for nomination the sides of conflicts and prescription of motives to them and contrasting cut technique for emphasizing of the important characteristic elements of the counteracting sides and the demonstration of their contrast to one another. The narrative structure of the films serves the same purpose by contrasting images of the old and the new societies. The examined films are also lacking motives and images accentuating the influence of communist party and Soviet leaders in the fight for the new lifestyle, the characters personalizing the leadership of the party in the creation of the new revolutionary lifestyle are also lacking which is in stark contrast to the much later socialist realism canon.