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War and art

Introduction During the Great Patriotic War, the struggle for freedom and independence of the Motherland became the main content of the life of Soviet people. This struggle demanded from them the utmost exertion of spiritual and physical strength. And it was the mobilization of the spiritual forces of the Soviet people during the Great Patriotic War that was the main task of our literature and art, which became a powerful means of patriotic agitation.

Literature in the years of VOv Russian literature of the period of VOv became literature of one theme – the themes of war, the themes of the Motherland. The writers felt themselves as “trench poets” (A. Surkov), and all literature as a whole, according to Tolstov’s apt expression, was “the voice of the heroic soul of the people.” The poems were published by the central and front press, broadcast on the radio along with information about the most important military and political events, sounded

from numerous improvised scenes on the front and in the rear. The love of the fatherland and hatred of the enemy is that inexhaustible and the only source from which our inspiration derived from the years of the Great Patriotic War our lyrics. During the Great Patriotic War, not only poetry genres were developed, but also prose. It is represented by journalistic and sketch genres, military narrative and heroic narrative. From the essays, the world first learned about the immortal names of Zoe Kosmodemyanskaya, Lisa Chaikina, Alexander Matrosov, about the heroism of the young guardsmen, which preceded the novel “The Young Guard.” The defense of Leningrad and the battle of Moscow caused the creation of a series of event essays, which are an artistic chronicle of military operations.

Cinematography and theatrical art in the Great Patriotic War A great role in the development of art, from the first years of the war, was played by theatrical drama by A. Korneichuk, K. Simonov, L. Leonov, etc. According to their plays “Partisans in the Steppes of Ukraine”, “Front” “The guy from

our city”, “Russian people”, “Invasion” were later supplied with films. The multicolored spectrum of art and literature of those years included cinematography. In art, newsreel as the most operative kind of cinema came to the forefront. Artistic cinematography became a powerful means of ideological education of the masses. The masters of artistic cinematography tried to tell about the heroes of the front and rear so that their exploits inspired thousands and tens of thousands of soldiers, officers, partisans, and workers of the rear for new heroic deeds. Shooting the defense of hero cities played a special role in the development of Soviet publicism. In the first, June days of the war, the departures of those who left for the front were shot mostly by a general plan. A few months later the same chroniclers had already filmed a recording of Muscovites in the people’s militia. The camera slowly slips through the ranks of volunteers, it then stops on the face of the old intellectual, then kindly watches as an elderly worker slowly tries on a quilted jacket, then watches a young boy picking up a rifle for the first time. The operator as if calling spectators to look more closely at these faces, try to remember them: people are going to defend Moscow, and many, probably, will not return. A few months later the same chroniclers had already filmed a recording of Muscovites in the people’s militia. The camera slowly slips through the ranks of volunteers, it then stops on the face of the old intellectual, then kindly watches as an elderly worker slowly tries on a quilted jacket, then watches a young boy picking up a rifle for the first time. The operator as if calling spectators to look more closely at these faces, try to remember them: people are going to defend Moscow, and many, probably, will not return. A few months later the same chroniclers had already filmed a recording of Muscovites in the people’s militia. The camera slowly slips through the ranks of volunteers, it then stops on the face of the old intellectual, then kindly watches as an elderly worker slowly tries on a quilted jacket, then watches a young boy picking up a rifle for the first time. The operator as if calling spectators to look more closely at these faces, try to remember them: people are going to defend Moscow, and many, probably, will not return.

In difficult for Moscow days, when the enemy was at a distance of 25-30 kilometers from the city, Muscovites saw on the screens a new newsreel – “To defend their native Moscow.” It began to release a group of filmmakers who remained in Moscow. From the materials sent to the studio by front-line cameramen, they assembled short essays and individual plots in which they talked about battles on the outskirts of Moscow, about the military everyday life of the Soviet capital. The latest issues of the newsreel informed the viewer of the course of the counter-offensive by the units of the Red Army and the rout of the fascist troops near Moscow. Most of this material was later included in the documentary “The Defeat of the German Fascist Forces near Moscow.” Film talked about the offensive operation of Soviet troops near Moscow in December 1941-January 1942, which played a huge role in the course of the whole world war. Since the Battle of Stalingrad, experiments have begun with synchronous recording of sound and images in combat conditions. There were isolated experiments in the field of color and stereoscopic front-line shooting. In the final period of the war (1944-1945), the offensive actions of the Soviet Army, its liberation mission became the themes of documentary cinematography. During the war, cinematography, along with other arts, served as a political fighter and agitator, who raised people to defend the fatherland. her liberation mission become the themes of documentary cinematography. During the war, cinematography, along with other arts, served as a political fighter and agitator, raising people to defend the fatherland. her liberation mission become the themes of documentary cinematography. During the war, cinematography, along with other arts, served as a political fighter and agitator, who raised people to defend the fatherland.

The agitation poster, as the main kind of fine art in the years of the Second World War. One of the most important types of fine arts in the war years was a poster. Poster artists quickly responded to the events of the first days of the war. Already on June 24, a poster was printed in the newspaper Pravda with the following plot: the bayonet pierced directly into the Fuhrer’s head, which fully corresponded to the ultimate goal of the unfolding events. The spirit of the time was also matched by a successful combination in the plot of the poster of the heroic and satirical images. Among the poster-sheets of June 1941 was the work of A. Kokorekin “Death to the Fascist Gadine!” A successful emblematic description of fascism was found. The enemy is shown in the form of a vile reptile, in the shape of a swastika pierced by a bayonet of the Red Army Warrior. Another well-known poster by A. Kokorekin “Beat Fascist Gad!”. Among the first military posters is the work of N. Dolgorukov “The enemy will not have mercy!”. A week after the war began, one of the most famous posters of the war years appeared: Motherland Calls Motherland. The main force of this poster’s effect lies in the psychological content of the image itself, in the expression of the agitated face of a simple Russian woman, in her calling gesture. In the first months of the war, the plots of heroic posters were full of scenes of attacks and single combat of a Soviet soldier with a fascist. Posters of wartime are not only original works of art, but also truly historical documents. The main force of this poster effect lies in the psychological content of the image itself-in the expression of the excited face of a simple Russian woman, in her calling gesture. In the first months of the war, the plots of heroic posters were full of scenes of attacks and single combat of a Soviet soldier with a fascist. Posters of wartime are not only original works of art, but also truly historical documents. The main force of this poster effect lies in the psychological content of the image itself-in the expression of the excited face of a simple Russian woman, in her calling gesture. In the first months of the war, the plots of heroic posters were full of scenes of attacks and single combat of a Soviet soldier with a fascist. Posters of wartime are not only original works of art, but also truly historical documents.

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War and art

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