The two films discussed are analysed in detail in order to illustrate the visual aesthetics of the different sides of this conflict. The relationship between the two types of memory is shown to be a form of discursive war. Yet they offer fundamentally contrasting representations of Belarusian nationhood, with correspondingly different ways of dealing with the traumas of the past. Both are set during World War II, the single most important historical period for collective memory in Belarus today. Change the Sidebar Icon and Font Size in Mac Apps. Brest Fortress originates in the authoritarian state of Aliaksandr Lukashenka and propagates its ideology of recycling the Soviet past. Hero Legend RPG Classic APK Download for Android Chaos Immortal Era APK Download for Android. Mysterium Occupation is an open affront to official memory and as a result it was banned in the country for over five years. The two films discussed in this article, Mysterium Occupation by Andrei Kudzinenka (Belarus 2003) and Brest Fortress by Aleksandr Kott (Belarus/Russia 2010), represent two opposing genres of memory in the post-catastrophic space of Belarusian culture. The variety of her images demonstrates the continued relevance of this figure two decades after the collapse of the USSR. Her depictions in various contexts represent prominent responses to the authoritarian regime which gave birth to both Kosmodem’ianskaia and her legacy. Building on her work, this article asks “Why and how has the image of Kosmodem’ianskaia remained relevant while other Soviet heroes have been neglected since 1991?” This article posits that Kosmodem’ianskaia’s continued significance lies above all in the flexibility of her image and the transitional aspects of her body. Catriona Kelly has demonstrated that the treatment of a national hero can illuminate the circumstances that produced the hero and the cultural climate of subsequent decades. This paper poses questions about the fracturing of national memory when a nation has undergone upheaval: about the stability of heroes, about citizens’ responses to them, and about heroes’ transformation in the new regime. As arguably the most famous Soviet World War II martyr, Kosmodem’ianskaia’s image splintered after glasnost’ and has been located at the nexus of debate in various media since 1991. This article analyzes the popular response to Soviet myths in the post-Soviet period through the lens of the complicated treatment of Zoia Kosmodem’ianskaia.
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