ORIGINS AND CONDITIONS OF DEVELOPMENT OF SUBJECTIVE PHOTOGRAPHY IN THE USSR IN THE LATE 20TH CENTURY

Abstract

The article examines the cultural, historical and philosophical prerequisites for the emergence of subjective photography in the Soviet Union in the middle and late 20th century. A subjective view of photography among photographers and photo amateurs in the USSR was formed by avant-garde currents in world and Soviet culture in the middle of the 20th century. The concepts of subjectivity and the author’s subjectivity are considered in the spirit of the ideas of French existentialists about humanism and existentialism, etc. The Being, essence, and being of a person are the subjects of research not only of existential philosophers. Photographers are also able to capture their subjective experience and the experiences of others in their immediacy and acuteness. Along with their foreign colleagues, Soviet photographers in the late 20th century turned to the study of the conditions of human existence, human essence, etc. In the post-war period, the author’s subjectivity of Soviet photographers manifested itself to the greatest extent in the networks of creative groups (self-organizations), created against the background of numerous art studios, photography clubs, etc., which were part of the system of state amateur clubs. Independent creative groups that were created in the 1970s–1980s, had chosen photography as a medium for the creation of photo-based Art. The Another (the other people) turns out to be a condition for the existence of the author’s subjectivity in photography. During the study, conceptual and descriptive-phenomenological methods were used, as well as comparative studies and hermeneutics. A historical and cultural analysis of little-known sources regarding the development of subjective photography was carried out.