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DOI: 10.5593/SGEMSOCIAL2016/HB41/S06.051

THE ROLE OF PHOTOGRAPHY IN A SOVIET GRAPHIC DESIGN STRUCTURE IN LATE 50S AND 60S

E. Jaskuniene
Thursday 6 October 2016 by Libadmin2016

References: 3rd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2016, www.sgemsocial.org , SGEM2016 Conference Proceedings, ISBN 978-619-7105-53-7 / ISSN 2367-5659, Apr 06-09, Book 4, Vol.1, 399-406 pp, DOI: 10.5593/SGEMSOCIAL2016/HB41/S06.051

ABSTRACT
This case study is based on the insights of social art history, certain cultural
anthropology discourses permitting to reveal the specific features of the Soviet system through the local manifestations of everyday and public life in Lithuania in late 50s and 60s. The aim of the paper – to reveal the social, ideological and artistic factors which determined the appearance of photographs in applied graphics, the manner in which its images altered the functional, constructive, and aesthetic structure of applied graphics, while photography itself acquired specific features of professional activity. The point of reference for the present study is the following question: is it at all expedient to talk about applied photography as a separate area of photography which, while functioning within the structure of a graphic design, must have acquired the features of visual advertising? In which form and which functions could it perform within the Soviet political system, which officially denied advertising and which recognized solely the propagandist role of photography in journalism and exhibition activities? It can be found out when mass production will be regarded as social communication phenomenon of a period. This phenomenon reveals social aspects of creative activities in general and the formation of photography as a professional activity in particular.

Keywords: Photography, Graphic Design, Soviet Lithuania, Visual Communication


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