“Pink Floyd – The Wall”. Viewer and the collective memory

Abstract

This article is about the representation of popular music as a form of collective memory. As a source, the film “Roger Waters: The Wall” is examined from the point of view of the modes of perception set in it. In the film, two types of narrative are combined: along with the excerpts from the concert event, real evidence it also shows, a real evidence connected with the personal experience and biography of the musician. Understanding the cinema requires not only a superficial glance, but also readers’ vision is also required, which allows to interpret them from different perspectives, including the historical, philosophical and political contexts. The movie and concert meaning remains undisclosed for the viewer, if not viewed through a prism of texts such as H. Arendt’s “The origins of Totalitarianism” by H. Arendt and “1984” by G. orwell. An important meaning in cultural communication is not so much an individual experience of the author of the film but an appeal to the collective memory. The concert as a method for appealing to the collective memory, in this case, is one of the preset modes of vision, as an alternative view of post-war time, close to repentance experience of repentance, or to overcoming those qualities that are associated with imperial self-consciousness.