БАЧИТИ ДОЗВОЛЕНЕ: ФОТОГРАФІЯ ТА ЦЕНЗУРА У РОСІЙСЬКІЙ ІМПЕРІЇ

Актуальні питання суспільних наук та історії медицини

Геннадій КАЗАКЕВИЧ¹ 

[1]Київський національний університет імені Тараса Шевченка

关键词: фотография;    цензура;    изобразительное искусство;    Российская империя;    photography;    censorship;    visual arts;    Russian empire;    the public administra- tion undertook efforts to get the new technology under the censor- ship control. The aim of the article is to reveal the theory andpractice of the governmental regulation of photography in the Rus- sian empire. Basing on the wide range of archival sources;    theauthor uses traditional methods of the historical study to describe the photography censorship in Russia and employs the approach of microhistory to find out how the censorship affected the everyday life of professional and amateur photographers. The lack of the studies devoted to the relationship between the public authorities and photography in the Russian empire determines the scientific novelty of the paper. From the early 1860ties;    both private persons who owned cameras and commercial photographic studios were placed under surveillance of the inspector of publishing facilities and bookstores. Professional photographers were obliged to put their names on all images they produced and keep an account of all their clients. Anyphotographic activity outside the studio required a special permis- sion of the local authorities. Only members of the photographicsocieties were allowed to take pictures everywhere in Russia (withan exception of military objects and borderlands) having no certifi- cate from the local governor’s office. Taking and publishing pic- tures of the ruling dynasty members and their residences required aspecial permission as well. The censorship controlled sharing of the photographic reproductions of the fine art works. The paintings;    which (from the censor’s perspective) either propagated revolution- ary and separatist ideas or threatened the reputation of the monar- chy and Orthodox Church;    were prevented from exhibiting. Thelocal authorities used to confiscate the photographic reproductionsof such paintings. As far as erotic materials were banned com- pletely;    the censors paid special attention to any photographic im- ages depicting nudity. The author comes to conclusion;    that despitethe regulations were strict;    the whole system of the state control over the photography was rather ineffective. Having no single law defining benchmarks for evaluating the pictures or even a list of theimages banned throughout an empire;    the censors used to act selec- tively. Furthermore;    in big cities;    such as Kyiv;    they were too busyto control dozens of photographic studios and amateur photogra- phers. As a result;   

DOI  :  10.24061/2411-6181.2.2018.26

来源: DOAJ

【 授权许可】

Unknown