Nuožmi taika: žlugusių režimų fotografija dokumentiniame kine

LTAr galima įžvelgti valstybę nuotraukoje iš šeimos albumo? Kaip žiūrėti į fotografijas iš represijų archyvų? Knyga analizuoja, kaip žlugusių politinių režimų fotografija apmąstoma šiuolaikiniame dokumentiniame kine. Pagrindinis dėmesys tenka represinių institucijų darytoms nuotraukoms ir privatiems, šeimos fotografijų archyvams. Įvairūs būdai pakartotinai naudoti šias nuotraukas archyvinėje dokumentikoje, animacijoje ir šiuolaikiniame mene siejami su galios ir žinojimo formomis, kurias šios fotografijos dokumentuoja ir liudija. Fotografinių archyvų perdirbimas siūlo klausti, kaip šios formos išardomos ir kokios naujos kuriamos. Lietuviškoji medžiaga aptariama greta Portugalijos, Kambodžos, Rusijos, Suomijos, Vokietijos iš kitų šalių dokumentinio kino, animacijos ir šiuolaikinio meno projektų, dirbančių su fotografijos archyvais. Tarpdisciplininė studija skirta skaitytojų auditorijai, besidominčiai medijų, vizualumo, istorijos, politikos, socialinės kritikos studijomis. [Anotacija knygoje]Reikšminiai žodžiai: Vizualumo politika; Fotografija; Dokumentinis kinas; Archyvinis palikimas; Animacija; Antrasis pasaulinis karas, 1939-1945 (World War II); Politinis režimas; Visuality; Photography; Documentary cinema; Archival heritage; Animation; Political regime.

EN[...] The aim of this monograph is to use the thus conceptualized double exposure for the analysis of the fallen regimes' photography. The book moves from general assumptions to two types of photographic archives - police photography and family albums - and their remediation in documentary films. These two types of material let us see into the strategies and the constructions of the past that are developed while working with private photography on the one hand and institutional photography, mostly created by repressive institutions, on the other. The first chapter ('The Order of Visual Archive and the Politics of the Voice') outlines important points on which the argument in the rest of the book hinges. It exposes the connection between visual regime, archive and the politics of the voice that are obtained through the remediation of photography in archival documentaries and animation. This connection is used to chart a roadmap that encompasses important theoretical discussions, recurring in the other two chapters of the book, where specific types of photography are explored. The second chapter ('Institutional Image: How to Look at Police Photography') examines the ways in which contemporary art and documentary filmmaking approach archives of repressive institutions, primarily consisting of the official political police photographs, the parameters of which often coincide with anthropometric or other types of photographs for official documents. Most of the examples in this chapter come from Lithuania (Kęstutis Grigaliūnas), Cambodia (Rithy Panh) and Portugal (Susana de Sousa Dias), with some references to the specifics of imperial and colonial images as well as the ways to rethink Nazi and Stalinist regimes' photographic archives.In search for an answer to the question 'What are the possibilities to regain subjectivity?', the chapter examines media specificity through an encounter of static photography with duration or duration effects that are characteristic of film. In contrast to the previous section, the state emerges somewhat indirectly in the third chapter ('Private Image: Family Album and Changing State'). However, what lies at the core of this chapter are the images of privacy and state that are encountered in private documents and the documentaries and archival animation that rearrange them. Examples from the Lithuanian context (Deimantas Narkevičius, Giedrė Beinoriūtė, lūratė and Vilma Samulionytė) are supplemented by Finnish, German, Estonian and other examples. For the most part, these examples consist of archival animation that establishes a connection between shifts in the narratives of the World War II and the Soviet era. The two types of photography - institutional and private - are discussed while developing broader analytical approach to visual regimes; it is an approach that connects political optics with vision of reality. Photographs encountered in the files of repressive institutions are always related to the institutionalization of the state of subordination (criminal, political enemy) as well as citizenship suppression or other form of its regulation, where citizenship is understood as the degree of subjectivity in the state or government's field of vision. In and of itself, the process of taking a photograph while registering, arresting and imprisoning works as the optical technology of citizenship. It is characteristic not only of totalitarian or authoritarian governments, but also, for example, of anthropological or demographic visions in imperial contexts, where citizens and the extent of citizenship or subjectivity are also assorted and catalogued.Double exposure of police photographs that takes place in contemporary art and documentary cinema both explicitly rejects the power of fallen regimes and establishes - even if temporarily and situationally - the possibility for a new or alternative citizenship, i.e. optical citizenship of a new order. The ways of changing this order that are highlighted in the documentaries, documentary animation, art installations and museum projects analysed in this book are primarily related to the specificity of photography as static media. Taking a police photograph out of the repressive archive, in other words, its de- and re-archiving, sets that photograph in motion and changes its temporality. The static image in police photography gains duration either through the process of comprehension that requires the viewer's bodily involvement (for example, by moving between photographs or by touching their contours, transposed onto another medium, as if developing negatives) or in the new order of cinematographic visual-ity, when, for instance, photographic image starts moving by invoking animation effects. In both cases, what happens is the deterritorialization, discursive dislocation and shift of photographic images. In archival documentaries, archival animation and some contemporary art works, visual deterritorialization is accompanied by vocal or acoustic deterritorialization, when both voice and sound strategies, responsible for the unity of or antagonism between knowledge and power, become the main grounds for establishing discursive shift and emancipated subjectivity. Thus, the politics of the voice in archival video, cinema and animation projects is essential for the analysis of change in visual as well as audiovisual regimes.[...]. [From the publication]