The dissertation examines the specifics of the way art was used in Soviet propaganda in the period from 1964 to 1982, analyzes the means and methods of its influence on society, and reveals the role of art in shaping the Soviet propaganda system of a given period.
Art was an important element of the Soviet propaganda system, and its various forms of expression served as a means of spreading ideological messages and forming a single monolithic nation. By using patterns, symbols, and the emotional potential of artistic works, reflecting the ideological foundations of communism and heroizing the government, soviet art created an image of an ideal socialist life that was meant to be perceived as a goal by the people.
In the first chapter, «Scientific Discourse, Source Base, and Methodology of Scientific Research», the main theoretical and methodological aspects on which the dissertation is built are highlighted, the degree of study of the topic by Soviet, domestic, and foreign scholars is characterized, and the sources used in the work are analyzed. The chapter illuminates the current scientific discourse regarding art in Soviet propaganda within the context of the specified period.
The source base of the dissertation encompasses a wide range of materials. Three main types of sources are identified: 1) unpublished (archival documents from the funds of the Central State Archive of Public Organizations of Ukraine, Central State Archive of Higher Authorities and Administration of Ukraine, Central State Archive-Museum of Literature and Art of Ukraine); 2) published documents (statistical data, newspapers, and periodicals, legislative and regulatory documents); 3) actual works of art (photographs of architectural structures, sculptures, visual arts etc.). A comprehensive analysis of all these diverse sources allowed not only to reveal the effectiveness of the propaganda system from the perspective of its impact on the cultural environment but also to re-evaluate the role of art in forming the ideological construct of «sovietness».
Scientific research is based on the following principles of scientific knowledge: historicism, reliability, objectivity, social approach, comprehensiveness, and systematicity. These are significantly complemented by groups of methods: general scientific, special-historical, interdisciplinary.
In the second chapter, «Verbal and Visual Arts in Soviet Propaganda», the features and methods of using the arts, which in the course of the study were classified as a passive form of propaganda, are analyzed. Thus, it has been established that such areas of art as architecture, fine arts, and literature are characterized by the fact that they did not require constant party intervention to fulfill their propaganda functions during the period under study. In Soviet society, any person could consume artistic cultural products on a daily basis without even suspecting the content of its ideological motives. As a result, through the introduction of literary works, works of architecture, and fine arts into everyday life, the ideological concepts and values of the Soviet government continued to spread rapidly and were subconsciously absorbed by the population. Statistical data indicate that the «zastii» period in Soviet art history was marked by a significant increase in the number and distribution of artworks across all fields, promoting the «progressiveness» of the Soviet regime.
In the third chapter, «Mass Media in Ideological and Propaganda Activities», the significance of cinema, animation, elements of mass media, theater, and music as art forms identified as active propaganda is explored. The analysis of statistical data from 1964 to 1982 indicates a trend of growth in both the number of information dissemination mediums and the audience in these art fields. The increase in the production of radios, televisions, and the construction of cinemas and theaters expanded audience reach and allowed propaganda narratives to be instantly spread to any part of the Soviet state. In particular, watching movies, programs, and listening to music together contributed to the formation of a single cultural and artistic space and the establishment of the idea of a «united Soviet nation». The formation of a monolithic Soviet society involved the creation of content aimed at different groups of the population. Children and teenagers were provided with appropriate cartoons, movies, magazines, and music. Adults also received artistic works according to their social status. At the same time, a common ideological content was preserved everywhere.
The research identified the forms and methods of using art in Soviet propaganda from 1964 to 1982. The scale of this influence was ascertained, and its key aspects in Soviet society were revealed. The analysis of scientific works and sources allowed art to be characterized as one of the main tools of Soviet ideological propaganda.
