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Monumental War Films and the Institutionalization of Heroism Monumental War Films and the Institutionalization of Heroism
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Dramas of the Great Soviet Family and the Heroic Son Dramas of the Great Soviet Family and the Heroic Son
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Trauma and Healing in the Red Army Family Trauma and Healing in the Red Army Family
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Of Families Great and Small Of Families Great and Small
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Extending the Great Family Extending the Great Family
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The Rise and Fall of the Heroic Spy The Rise and Fall of the Heroic Spy
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2 The Great Patriotic War on Screen
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Published:July 2024
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Abstract
This chapter discusses the most popular type of Soviet-made feature to screen during 1945–50: war films. War films were shaped by two priorities: first, the need to redefine the war narrative through a more stringently Soviet lens. The task for the film industry after the war was to relocate it to the firm grounding of Stalinist ideology. This was not the Stalinism of the 1930s, however, or even simply a more grandiose version of it. Instead—and this is the second consideration that defined war films—it was a Stalinism that sought to rectify the politically undesirable legacies of the war and the way in which it was won. Late Stalin-era war films engaged in developing a distinctly postwar iteration of Stalinism. Central to this task was the search for a suitable positive hero. The chapter then looks at three distinct categories of war film: the battle film, the Great Family film, and the spy thriller. It considers how war films sought to establish not only the narrative of recent victory but also the image of heroism at the heart of Soviet postwar culture.
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