Особенности работы фотографа и художника-оформителя в создании советской кинорекламы

Abstract

The article examines the historical and cultural context of propaganda, ideological, aesthetic qualities of posters and photographs in Soviet cinema advertising. An advertising image from a photograph or movie poster is considered as the main «supplier» and/or «intermediary» of the broadcast meanings. The phenomenon of two creative professions is analyzed – a graphic designer and a cinema photographer. We are talking about work that meets the advertising goals of film distribution and, at the same time, about a kind of manifestation of the content side of Soviet films through their artistic interpretation. The main part of the posters for cinemas and houses of culture was «handmade», created in one copy (along with posters replicated on copying equipment). For many decades of the twentieth century, designers and photographers functioned as intermediaries between the authors of screen content and recipients, creating a variety of interpretations of works of cinema.