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Collectivisation image in Soviet cinema of 1930s: philosophical analysis

The article analyses the character of the collectivization image in Soviet cinema of the 1930s. The comparison of the films of S. Eisenstein, G. Aleksandrov, A. Medvedkin, A. Dovzhenko, F. Ermler, I. Pyryev is given to describe their common images and analyse the mechanism of their impact on a viewer in its connection to a special historical moment and cinema art specifics. The collectivization, which affected lives of the population of the USSR at the turn of the 1930s as an extremely unpopular measure, “skidding” all the time and rejected by the people, demanded a constant broadcast of its presence: images of a wonderful new life, images of an enemy, images of achievements. It also demanded the presence of a special space between reality and fiction, which can be called using the modern language the “media”. The unrealism of the analyzed films, which contradicts the canons of socialist realism, shows the ability of the image to involve a viewer’s perception into the game of suspicions about the “true” reality, which can be associated with platonism philosophic tradition in its influence on art. The article materials can be used for creating studying courses and literature on philosophy, political science, art and another humanities.