БАЧИТИ ДОЗВОЛЕНЕ: ФОТОГРАФІЯ ТА ЦЕНЗУРА У РОСІЙСЬКІЙ ІМПЕРІЇ
| Autor: | Геннадій КАЗАКЕВИЧ |
|---|---|
| Jazyk: | English<br />French<br />Russian<br />Ukrainian |
| Rok vydání: | 2018 |
| Předmět: |
фотография
цензура изобразительное искусство Российская империя photography censorship visual arts Russian empire the public administra- tion undertook efforts to get the new technology under the censor- ship control. The aim of the article is to reveal the theory and practice of the governmental regulation of photography in the Rus- sian empire. Basing on the wide range of archival sources the author uses traditional methods of the historical study to describe the photography censorship in Russia and employs the approach of microhistory to find out how the censorship affected the everyday life of professional and amateur photographers. The lack of the studies devoted to the relationship between the public authorities and photography in the Russian empire determines the scientific novelty of the paper. From the early 1860ties both private persons who owned cameras and commercial photographic studios were placed under surveillance of the inspector of publishing facilities and bookstores. Professional photographers were obliged to put their names on all images they produced and keep an account of all their clients. Any photographic activity outside the studio required a special permis- sion of the local authorities. Only members of the photographic societies were allowed to take pictures everywhere in Russia (with an exception of military objects and borderlands) having no certifi- cate from the local governor’s office. Taking and publishing pic- tures of the ruling dynasty members and their residences required a special permission as well. The censorship controlled sharing of the photographic reproductions of the fine art works. The paintings which (from the censor’s perspective) either propagated revolution- ary and separatist ideas or threatened the reputation of the monar- chy and Orthodox Church were prevented from exhibiting. The local authorities used to confiscate the photographic reproductions of such paintings. As far as erotic materials were banned com- pletely the censors paid special attention to any photographic im- ages depicting nudity. The author comes to conclusion that despite the regulations were strict the whole system of the state control over the photography was rather ineffective. Having no single law defining benchmarks for evaluating the pictures or even a list of the images banned throughout an empire the censors used to act selec- tively. Furthermore in big cities such as Kyiv they were too busy to control dozens of photographic studios and amateur photogra- phers. As a result History of medicine. Medical expeditions R131-687 Social Sciences |
| Zdroj: | Актуальні питання суспільних наук та історії медицини, Vol 2(18), Pp 42-46 (2018) |
| Druh dokumentu: | article |
| ISSN: | 2411-6181 2311-9896 |
| DOI: | 10.24061/2411-6181.2.2018.26 |
| Popis: | Казакевич Г.М. Видеть разрешенное: фотография и цензура в Российской империи. Целью исследования является рассмотрение истории становления государственного регулирования оборота фотографических изображений в Российской империи и выявление особенностей его применения на практике. Для описания основных механизмов госу- дарственной политики России в отношении фотографического дела использованы традиционные принципы и методы исторического исследования, такие как историзм, системность, критический анализ источников и т. д. Выяснение влия- ния цензурной политики на повседневные практики фотографов-профессионалов и фотолюбителей осуществляется с помощью подходов микроистории. Новизна исследования объясняется постановкой актуальной проблемы и отсутстви- ем подобных работ в историографии. В статье отмечено, что цензурное ведомство было призвано контролировать созда- ние, тиражирование и распространение фотографий и фоторепродукций с целью ограничения доступа населения к изоб- ражениям, угрожающим, по мнению властей, общественной морали, государственному устройству, интересам православ- ной церкви и правящей династии. Автор приходит к выводу, что, будучи крайне строгой с формальной точки зрения, цензурная политика не способна была решить возложенные на нее государством задачи. На практике, механизм контроля действовал неэффективно и лишь создавал дополнительную бюрократическую волокиту, что и привело, в конечном ито- ге, к его частичной ликвидации.In the late 19th – early 20th cc. the Russian imperial authorities were concerned with the fast expansion of the photography. As a result, the public administra- tion undertook efforts to get the new technology under the censor- ship control. The aim of the article is to reveal the theory and practice of the governmental regulation of photography in the Rus- sian empire. Basing on the wide range of archival sources, the author uses traditional methods of the historical study to describe the photography censorship in Russia and employs the approach of microhistory to find out how the censorship affected the everyday life of professional and amateur photographers. The lack of the studies devoted to the relationship between the public authorities and photography in the Russian empire determines the scientific novelty of the paper. From the early 1860ties, both private persons who owned cameras and commercial photographic studios were placed under surveillance of the inspector of publishing facilities and bookstores. Professional photographers were obliged to put their names on all images they produced and keep an account of all their clients. Any photographic activity outside the studio required a special permis- sion of the local authorities. Only members of the photographic societies were allowed to take pictures everywhere in Russia (with an exception of military objects and borderlands) having no certifi- cate from the local governor’s office. Taking and publishing pic- tures of the ruling dynasty members and their residences required a special permission as well. The censorship controlled sharing of the photographic reproductions of the fine art works. The paintings, which (from the censor’s perspective) either propagated revolution- ary and separatist ideas or threatened the reputation of the monar- chy and Orthodox Church, were prevented from exhibiting. The local authorities used to confiscate the photographic reproductions of such paintings. As far as erotic materials were banned com- pletely, the censors paid special attention to any photographic im- ages depicting nudity. The author comes to conclusion, that despite the regulations were strict, the whole system of the state control over the photography was rather ineffective. Having no single law defining benchmarks for evaluating the pictures or even a list of the images banned throughout an empire, the censors used to act selec- tively. Furthermore, in big cities, such as Kyiv, they were too busy to control dozens of photographic studios and amateur photogra- phers. As a result, both photographers and local civil servants ig- nored most of the regulations. |
| Databáze: | Directory of Open Access Journals |
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