historyВестник РГГУ. Серия: Литературоведение. Языкознание. КультурологияRSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series2073-6355RSUH10.28995/2686-7249-2020-8-133-147history-920Research ArticleМЕДИАИССЛЕДОВАНИЯMEDIA STUDIESКоллективная память о советском прошлом на YouTube: способы аудиовизуального конструирования рядовыми видеоблогерамиCollective memory of the Soviet past on YouTube: techniques for audiovisual construction by ordinary video bloggersЗвереваГ. И.ZverevaG. I.

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galazver@mail.ruРоссийский государственный гуманитарный университетРоссияRussian State University for the HumanitiesRussian Federation20202901202108133147Copyright © Зверева Г.И., 20212021Зверева Г.И.Zvereva G.I.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://history.rsuh.ru/jour/article/view/920

На платформе YouTube размещается множество видео-роликов, которые содержат различные медиарепрезентации коллективной памяти о советской истории. В этом массиве мультимедийных продуктов самостоятельное место занимают видео, создаваемые рядовыми блогерами. Видеофильмы с темами о недавнем прошлом формируются носнове оцифрованных фрагментов документальных и игровых фильмов, фотографий, плакатов, открыток, рисунков и проч. Вербальные комментарии зрителей-пользователей к видеороликам расширяют и изменяют их смысловое содержание. Цель статьи состоит в том, чтобы выявить в видеофильмах рядовых блогеров различные способы аудиовизуального конструирования коллективной памяти о массовых репрессиях 1930-х гг. и ГУЛАГе. Критериями отбора источников для исследования служат: время их размещения на платформе YouTube (2010-е гг.), заявка видеоблогеров на документальность, число просмотров, количество комментариев. Результаты исследования показывают, что блогеры формируют кластеры коллективной памяти о репрессиях и ГУЛАГе с помощью аудиовизуальных знаков и символов, легко опознаваемых пользователями-зрителями. Одни и те же фото- и кинофрагменты могут «срабатывать» в видео по-разному в зависимости от того, как они соотносятся с вербальным и аудиальным компонентами мультимодального текста. Способы аудиовизуального документирования советского прошлого, используемые блогерами, сочетают в себе до-цифровые и цифровые технологии. Отбор тех или иных аудиовизуальных компонентов как «сырых данных» для видео, их монтаж, наделение исторических персонажей определенными ролями, организация времени и пространства в цифровом нарративе, включение в него разных социальных и политических контекстов позволяют блогерам конструировать различные варианты коллективной памяти о советском прошлом в соответствии с их идейными позициями.

The YouTube platform hosts a multitude of video clips that contain various media representations of the collective memory of Soviet history. In this array of multimedia products, videos created by ordinary bloggers take their own place. Videos with themes about the recent Past are formed on the basis of digitized fragments of documentary and fiction films, photographs, posters, postcards, drawings, etc. Verbal comments of viewers-users to videos expand and change their semantic content. The purpose of the article is to reveal in the videos of ordinary bloggers various techniques for audiovisual constructing the collective memory of the mass repression of the 1930s and the Gulag. The criteria for selecting sources for the study are: the time they were posted on the YouTube platform (2010s), video bloggers claim to be documentary, the number of comments. The research results demonstrate that bloggers shape clusters of collective memory of the repressions and the Gulag using audiovisual signs and symbols that are easily recognizable by viewers. The same photographs and film fragments can “work” in video differently depending on how they relate to the verbal and audio components of multimodal text. The techniques used by bloggers for audiovisual documentation of the Soviet Past combine pre-digital and digital technologies. The selection of certain audiovisual components as “raw data” for video, their montage, giving historical figures certain roles, organizing time and space in a digital narrative, including different social and political contexts in it, all allow bloggers to form various representations of the collective memory of the Soviet past, depending on their ideological positions.

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The authors declare that there are no conflicts of interest present.