UDC

130.2:791

DOI

10.37482/2227-6564-V019

Authors

Aleksey I. Ivanenko
Saint Petersburg State University of Industrial Technologies and Design; ul. Ivana Chernykh 4, St. Petersburg, 198095, Russian Federation;
ORCID: https://orcid.org/0000-0002-6330-7179 e-mail: iwanenkoalexy@hotmail.com

Abstract

This article analyses the images of shuravis (Soviet soldiers) and dushmans (Afghan rebels) in Russian films. Cinematography is regarded here as an art which helps us to perceive the world around us. Descriptions of war – a highly dramatic and holistic act – occupy a special place in art. Artistic representations of war reveal the axiological bases of the conflicting parties, which appear through visual attributes. When studying Soviet culture, one has to bear in mind the importance of World War II; however, it was the Soviet–Afghan War that uncovered the crisis of the Soviet era and its transition to contemporary Russia. Based on Internet sources, the author made a list of representative films about the Soviet–Afghan War and identified a shuravi/dushman opposition. This opposition is reflected in the archetypal clash between civilization and savagery, atheism and religion, West and East. Shuravis eat tinned meat, while dushmans eat fresh watermelons. Shuravis use military transport, while dushmans are shown with Japanese cars. Shuravis’ weapon of destruction is a dragon-like helicopter, while dushmans kill with oriental knives. In addition, the paper dwells on the manners of the opposing parties, reflecting their mentality, and the conflict’s environment, represented by a mountain desert.

Keywords

Soviet cinematography, Russian cinematography, Afghanistan, Soviet–Afghan War, shuravi, dushman, mass culture

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