Socijalistički realizam u hrvatskoj amaterskoj fotografiji

Autor: Vladko Lozić
Jazyk: chorvatština
Rok vydání: 2013
Předmět:
Zdroj: Informatica museologica
Volume 44
Issue 1-4
ISSN: 1849-4277
0350-2325
Popis: Socijalistički realizam ima zadaću da istinitost i povijesnu konkretnost umjetničkog prikazivanja mora spajati sa zadaćom idejne preobrazbe i odgoja trudbenika u duhu socijalizma (Statut SSDP-a). Tako su postavljene norme socijalnodidaktičke književnosti. Od nove društveno kontrolirane i dirigirane socrealističke književnosti kao moćnoga propagandnog oružja vladajuće partije pa do proširenja tog diktata na cjelokupnu kulturu i umjetnost bio je još samo jedan korak.
From the earliest known civilisations, both art and culture have had to submit to the dictates of society, if the group in power is understood to mean society. After World War II and the creation of the new Yugoslavia, radical social and political changes took place in the area. A new state formation was created based on the doctrine of social realism. Our new amateur photography broke with the surviving older understanding of art for art’s sake, with cloying and unreal depictions. In the Kingdom of Yugoslavia of that time the number of trained and experienced photographers was quite small; there were not ten clubs in the whole of the state. The artisans, who mainly worked in the studio, mostly with portraiture, had neither the knowledge nor the experience to get to grips with the entirely new approach to photography in order to shoot the development of huge factories, dams for hydroelectric generating stations, the building of new railway lines and roads. And it was amateur photographers that proved the most suitable executors of the new tasks. These were people who, associating in the then few clubs, had cultivated artistic and decadent photography, precisely that which the new government condemned. And yet they had an eye, experience in the choice of subjects, and were sufficiently smart to be able at a certain moment to join two very contradictory concepts. And it happened that these people took excellent photographs concerning the socialist development of the country, but in line with all those principles of composition that the new powers that be condemned so vigorously. Socialist realist photography, created according to the directives and dictates of the ruling social structures, was supposed to become the photography of tomorrow, of the new, idealised, global communist order. All the great dictatorships have actually had the same ideas, but all came to a wretched end. The same thing happened with Yugoslav social realist photography. But in our current assessments we have to be very circumspect concerning the visual competencies of this politically directed photography. Created according to the dictates and orders of the ruling party though it was, it not only presented the moments of socialist development, but also produced works of outstanding artistry.
Databáze: OpenAIRE
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