Abstract

Te author examines the functioning of Moscow’s cinemas during the Great Patriotic War in terms of the concept of “social space” introduced by the French philosopher and sociologist Henri Lefebvre (1901-1991). According to this concept, social space in relation to the cinema includes three levels. Te frst one is a “representation of space”, i.e. a set of fxed norms that are set “from above”, according to the authorities’ views on the most efective cinema and its operation (architectural appearance, repertoire, propaganda programme, etc.). Te second one is “spatial practices”, i.e. the functioning of a cinema through the activities of its personnel, whose views on the best organization of flm viewing could differ signifcantly from the guidelines “from above”. Te third one is a “space of representations” - a “look from below”, that is, the perception (“experience”) of “going to the cinema” by spectators themselves. While analyzing the repertoire, specifcs of the work of wartime Moscow’s cinemas, administrative activities of state and party bodies in the area of flm distribution, the author draws the following conclusions. Cinemas’ “representation of space” did not change significantly since the pre-war years; they remained places of leisure and entertainment. At the same time, cinemas as agitation platforms were widely involved in propaganda for mobilization. Cinemas’ “spatial practices” under war conditions were significantly transformed due to the intensification of propaganda work and the obligation to strictly adhere to special instructions. Cinemas’ “spaces of representation” were directly related to significant changes in the repertoire: on the one hand, film distributors relied on edifying “defense” films, and on the other hand, on what the mass audience was primarily interested in, that is, distracting and relaxing melodramas and adventures, as well as war dramas and documentary films consolidating the “enemy image” and providing information from the fronts. In addition, Soviet moviegoers discovered “another world” on the screen through films of the Allies, American and British cinema production.

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