ABSTRACT

The mediatisation of war crimes trials in the USSR during the Thaw led to the emergence of a sub-genre of the Soviet war film: melodramas focused on the unmasking of Nazi collaborators through narrative recognition. Built on the trope of anagnorisis, the films hold an aesthetic mirror to the juridical process of investigating, sentencing and punishing enemies of the state, resolving the disruption of collaboration to the Soviet myth of war. But by drawing upon the authority and effect of witness to trauma, the films also generate an indexical reference to the time and place of experience, undermining the narrative logic of the genre. The Lithuanian television film, Balys Bratkauskas’ Two in a Small Town (1965), marks a significant departure from the genre, testifying to the Holocaust by conveying the intimacy of violence in the western periphery of the USSR.

摘要

解冻期间苏联对战争罪行的审判进行了媒介化，导致出现了苏联战争电影的一个子类型：情节剧集中于通过叙事承认来揭露纳粹合作者。这些电影以无名氏为基础，在调查，判刑和惩罚国家敌人的司法过程中保留了美学的一面镜子，解决了合作对苏联战争神话的破坏。但是，通过利用创伤见证人的权威和影响力，电影也产生了对经历时间和地点的索引性参考，从而破坏了该类型的叙事逻辑。立陶宛电视电影，Balys Bratkauskas'两人在一个 小城镇 （1965年）标志着这一类型的重大偏离，通过传达苏联西部外围地区的暴力亲密关系证明了大屠杀的存在。