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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">vgik</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник ВГИК</journal-title><trans-title-group xml:lang="en"><trans-title>Vestnik VGIK</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2074-0832</issn><issn pub-type="epub">2713-2471</issn><publisher><publisher-name>ВГИК</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.17816/VGIK63610</article-id><article-id custom-type="elpub" pub-id-type="custom">vgik-4</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>ТЕОРИЯ И ИСТОРИЯ КИНО</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>FILM THEORY AND FILM HISTORY</subject></subj-group></article-categories><title-group><article-title>Эволюция концепции Победы в отечественной кинодокументалистике</article-title><trans-title-group xml:lang="en"><trans-title>The Evolution of the Concept of the Victory in Russian Documentary Cinema</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Прожико</surname><given-names>Г. С.</given-names></name><name name-style="western" xml:lang="en"><surname>Prozhiko</surname><given-names>G. S.</given-names></name></name-alternatives><bio xml:lang="ru"><p>доктор искусствоведения, профессор</p></bio><bio xml:lang="en"><p>Doctor of Arts, Professor, Department of Cinema Studies</p></bio><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff xml:lang="en" id="aff-1"><institution>VGIK</institution><country>Russian Federation</country></aff><pub-date pub-type="collection"><year>2021</year></pub-date><pub-date pub-type="epub"><day>21</day><month>03</month><year>2024</year></pub-date><volume>13</volume><issue>1(47)</issue><fpage>8</fpage><lpage>22</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Прожико Г.С., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Прожико Г.С.</copyright-holder><copyright-holder xml:lang="en">Prozhiko G.S.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.vestnik-vgik.com/jour/article/view/4">https://www.vestnik-vgik.com/jour/article/view/4</self-uri><abstract><p>Каждое поколение послевоенных десятилетий стремилось заново открывать суть «великого противостояния» нашего народа фашистским захватчикам. Отечественные документалисты выражали эту новую концепцию нашей Победы каждого поколения в лентах, созданных на материалах киноархивов, свидетельствах участников войны. Статья предлагает обзор опыта освоения этой темы отечественной документалистикой от первых послевоенных лет до нынешних времен.</p></abstract><trans-abstract xml:lang="en"><p>Each generation of the post-war decades sought to rediscover the essence of the "great confrontation" between our people and Nazi invaders. Russian documentary filmmakers expressed each generation’s concept of the Great Victory in movies based on archival footage and testimonies of veterans. The article offers an overview of the interpretations of this topic by national documentary cinema from the first post-war years to the present.There is an illusion that film preserves the image and meaning of the past forever. In fact, archival footage reveals the significance of the filmed event only in the context of the director’s intention and artistic message. This accounts for the eager desire of all post-war generations up to the present day to understand the essence of the key event of the 20th century — the Great Patriotic War — prompting filmmakers to return to film archives time and again to reconsider such an important page of our national history. The author examines the evolution of the concept of Victory in national documentaries both in the post-war decades and now. It is the insight into the representation of our Victory that testifies to the profundity of each generation’s historical viewpoint, the understanding of the originality of the nation’s spiritual strength, their ability to capture the vector of the country's development in the past experience.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>хроникальный кадр</kwd><kwd>экранный документ</kwd><kwd>историческая концепция</kwd><kwd>отечественная документальная кинематография</kwd></kwd-group><kwd-group xml:lang="en"><kwd>newsreel</kwd><kwd>audiovisual document</kwd><kwd>historical concept</kwd><kwd>national documentary filmmaking</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Базен А. Что такое кино? М.: Искусство,1972.</mixed-citation><mixed-citation xml:lang="en">Bazen A. CHto takoe kino? [What is the cinema?]. Moscow: Iskusstvo, 1972. 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(In Russ.).</mixed-citation></citation-alternatives></ref></ref-list><fn-group><fn fn-type="conflict"><p>The authors declare that there are no conflicts of interest present.</p></fn></fn-group></back></article>
