Politinis lūžis ekrane: (po)komunistinė transformacija Lietuvos dokumentiniame kine, videokronikoje ir televizijoje

• Mikonis-Railienė, Anna
• Šukaitytė, Renata
• Martišius, Mantas
• Stonytė, Renata

LTMonografija - tai pirmasis mokslininkų žvilgsnis į politinių ir socialinių transformacijų, vykusių 1987-1991 metais, vaizdavimą ir refleksiją Lietuvos dokumentiniame kine, videokronikoje ir televizijoje. Knygoje atskleidžiama, kas permainingų praėjusio šimtmečio devintojo ir dešimtojo dešimtmečių sandūroje kine ir televizijoje buvo vertingiausia, svarbiausia, neįprasta ir kas užfiksuota kino bei magnetinėse vaizdajuostėse. Monografijos autoriai gilinasi į svarbius to meto istorinius įvykius ir personalijas ir į tai, kas lėmė nacionalinio dokumentinio kino ir televizijos kaitą. Knygoje atskleidžiama, kaip audiovizualinėse medijose reprezentuojami pokyčiai mūsų visuomenėje ir kokie politiniai bei socialiniai naratyvai dominuoja atgimstančioje Lietuvoje. [Iš leidinio]Reikšminiai žodžiai: Kinas; Televizija; Dokumentinis kinas; Transformacijos; Atgimimas; Sąjūdis; Audiovizualinės medijos; Politiniai ir socialiniai naratyvai; Cinema; Television; Documentary cinema; Transformations; Revival; Sąjūdis; Audiovisual media; Political and social narratives; Of Political transformation in audio-visual footage.

ENIn the book, the object of research is audio-visual footage of various genres, which includes creative documentaries (part I), private video recordings (part II), film chronicle filmed in Lithuanian Film Studio (part III) and LTV shows (part IV). This video footage has provided us with an opportunity to fully explore the narrative of films reflecting political and social breakthroughs, as well as the impact of cinema on reality affected by political transformations. We have aimed to make a selection that would combine well-known documentaries with authored documentaries and harder-to-access or less-known works, and describe the film chronicles and video footage that became the main source of information on the period in question. The chronological frameworks of all chapters of the book cover major political events - from the first unauthorized meeting of Lithuanian Liberty League by the Adam Mickiewicz monument in 1987 to its culmination in the bloodstained January of 1991. In this monograph, our intention was to reveal what we thought was the most valuable, important, unusual in the cinema at the turn of the changeful 1980s to 1990s, and what cinematographic and video tapes have captured. We intended to cover not only what is important in the context of national and global history (iconic events and personalities), but also that which determined the individuality of national documentary cinema and the distinctive features of its audio-visual footage made in 1987 to 1991. During the years of breakthrough, Lithuanian documentary cinema documented first and foremost what was happening in the streets, squares, political and social life. It is also worth noting that the 1990s represent not only institutional and economic changes in Lithuanian cinema, along with shifts in the common media space, but also the formation of a new model of documentary cinema.At that time, a major breakthrough happened in Lithuanian documentary cinema. The 1990s saw the emergence of political and social cinema depicting authentic political life and openly recording the Lithuanian liberty case. This is not to say that in previous years documentary cinema evaded politics. The communist system and the authorities responsible for censorship oversaw that every film was conceptually correct. The documentaries were based on propaganda methods of political action. They depicted neither politicians nor real political life, because in the Soviet system, politics was replaced by communist ideology. The depiction of political life in documentary cinema became part of the propaganda system, and the cinematographic films reflected a falsified and staged reality (including political one). Documentary cinema did not seek to represent authentic reality - rather, it served utilitarian and propaganda purposes. If one were to talk about film as an open, spontaneous narrative for politicians and political events, it would have to be the kind of cinema that was born in Lithuania, like in the other Baltic States, already after 1989. It is no coincidence, therefore, that the text of the monograph often raises the question of the political qualities of cinema in the transformational period, their types and meanings. The political perspective is prominent in the first and third parts of the book, which analyze political processes and various topics of political life both in Lithuania and other Central and Eastern European countries. Here, politics is an auxiliary category, becoming the general basis for reflection on the state order of the Baltic States and the countries of Central and Eastern Europe.The conceptual frameworks of political cinema, in this case, allow for the analysis of various social and societal phenomena, as well as for the understanding of films from the perspective of global communication and postcolonial research. The first part of the book also analyzes Lithuanian documentary cinema in the context of Central and Eastern European films reflecting the same historical period. The category of cinema as a historical source dominates the second part of the book. This part confines the deliberations to the field of audio-visual history that is interested in cinema as a specific form of cognition and presentation of the past. This part treats documentary and television films and video chronicles not as works of art or products of creative practice, but rather, as audio-visual historical narratives, which, in terms of academic historiography, have become alternative (unconventional) forms of creating a science about the past. Visual history is akin to visual anthropology and visual sociology, so in the second part of the book, we look at the research in historical reality from an anthropological and sociological perspective, focusing the eye of the research on the relationship between film and reality - the one that covered not so much the political, but rather the social and cultural landscape. Anthropological gaze allows us to reconstruct reality according to audio-visual footage by decomposing it into categories of theater, word (dialogue), and memory. The starting point for the study of the texts we put together in this book was audio-visual footage, which, by virtue of its specificity, requires different, specific methodological tools and different ways of research and theoretical methods. [Extract, p. 358-360]

• Komunikacija / Communication
• Istorija / History

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• Early cinema in Lithuania: the emergence of a cultural tradition / Juozapas Paškauskas. Meno istorija ir kritika. 2022, 18, p. 134-146.
• Kas yra "nacionalinis kinas"? Kanonas, transnacionalinis ir ankstyvasis kinas / Lina Kaminskaitė. Acta Academiae Artium Vilnensis 2022, t. 107, p. 225-248.