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来源: 《透视俄罗斯》
The Multimedia Art Museum is hosting an exhibition entitled "Life as a Celebration," dedicated to the 115th anniversary of the legendary Soviet (now Russian) magazine Ogonek (Spark). “Happy New Year, Comrades!” (cover), 1954

Yakov Ryumkin, from the archives of Ogonek magazine

Ogonek was the favorite magazine of entire generations — its articles were discussed and retold, and binders full of issues were carefully preserved. The country, people and circumstances changed, and so did Ogonek, yet the publication always remained true to the roots of its wide readership. // High-altitude skating rink in Alma-Ata (Almaty), Kazakhstan. Spectators, 1955

Nikolay Drachinsky, from the archives of Ogonek magazine

Ogonek has been an illustrated publication ever since its inception in 1899. It was the TV of the pre-TV era, around which the whole family gathered. Having temporarily ceased to exist in the revolutionary years and been reborn in 1923, by 1925 Ogonek already had a circulation of half a million. During these years, photography became a powerful visual tool for the young Soviet government. // Young performers at the Yanka Kupala Belarusian Drama Theater. Minsk, 1953

Mikhail Savin, from the archives of Ogonek magazine

《星火》杂志自1899年成立以来一直定位为插画出版物。它是电视时代之前的电视,全家人都会聚集在一起阅读它。《星火》曾在革命年代暂时停刊,后于1923年复刊,其发行量在1925年就已达到50万份。在那个时代,照片成为年轻的苏维埃政府一个强大的可视化工具。// 白俄罗斯杨卡·库帕拉剧场的年轻表演者,摄于明斯克,1953年。
Ogonek employed the finest Soviet photographers: Arkady Shaikhet, Eleazar Langman, Semyon Friedlyand, Lev Borodulin and, of course, Dmitri Baltermants, who from 1965 to 1990 headed the photo section. The photographer’s task was not to depict reality as it was, but as it should be. Photography textbooks in those days focused on the rules of camera setup and placement, and the production of seemingly objective reporting. // Young Leninists Alesha Pilyaev and Igor Usakov. Moscow, 1961

Dmitri Baltermants, from the archives of Ogonek magazine

《星火》杂志聘请了苏联当时最优秀的摄影师:阿卡迪·沙伊汉特、以利亚撒·朗曼、谢苗·弗利兰德、列夫·布鲁杜林,当然还有从1965年到1990年任摄影部门主任的德米特里·巴尔特曼茨。摄影师们的任务不是重现真实的现实,而是描绘应有的社会面貌。那个年代的摄影教材重点讲述相机的设置和拍摄准则、以及如何完成看似客观的报道。// 年轻的列宁主义者阿廖沙·皮利亚耶夫和伊戈尔·乌萨科夫,摄于莫斯科,1961年。
Its definitive visual canon took shape by the mid-1950s, which were Ogonek’s heyday as a photo-illustrated magazine. The magazine’s photographers constructed an image of happy people in the world’s happiest country. Exploits of collective labor, pictures of the new way of life, scenes of carefree childhood and well-deserved leisure time — in Ogonek’s pictures everything breathed the air of celebration or expectancy. // Rich harvest of wheat harvested in the Novo-Alexandrovsk district, Stavropol Territory. Collective farm worker Anastasia Nikolaevna “hugs” the grain, 1951

Yakov Ryumkin, from the archives of Ogonek magazine

20世纪50年代中叶是画报杂志《星火》的全盛时期,也就是在这个时代,《星火》杂志的视觉规范最终确定。杂志摄影师建构了世界最幸福国家的幸福民众的图景。集体劳动的壮举、新生活方式的图片、无忧无虑的童年和受之无愧的休闲时间——《星火》照片中的一切都呼吸着庆祝或期待的空气。// 在斯塔夫罗波尔边疆区的新亚历山大罗夫斯克地区丰收小麦。集体农庄工人阿纳斯塔西娅·尼古拉耶芙娜“拥抱”粮食,1951年。
In the thaw years of the 1960s, the veneer of collective celebration was pierced by individualized happiness, changing the facial expressions, plasticity, themes and tonality of the pictures. // Pilot and cosmonaut Yuri Gagarin at home with wife Valentina, 1962

Yakov Ryumkin, from the archives of Ogonek magazine

在20世纪60年代的解冻时期,集体庆祝的场面被个人幸福所改写:照片上的人物面部表情、造型、主题和色调都发生了变化。// 飞行员兼宇航员尤里·加加林与妻子瓦伦蒂娜在家中,1962年。
In the 1970s, with the advent of the so-called era of stagnation, celebration gradually ceased to be the main theme of Soviet photography. Since 2009 Ogonek has been part of Kommersant Publishing House and issued in the usual large format with extra photos. // Grinder at the Lyudinovsk diesel locomotive construction plant, delegate of the 26th Congress of the Communist Party of the Soviet Union Gennady Petrukhin with his son Alexander. Kaluga Region, 1981

Mikhail Savin, from the archives of Ogonek magazine

在20世纪70年代,随着所谓“停滞时代”的到来,庆祝活动逐渐淡出苏联的摄影主题。自2009年起,《星火》成为生意人报出版集团的旗下品牌,是内含较多图片的大尺寸杂志。// 柳丁诺夫斯克柴油机床厂的磨床工、苏联共产党第26届大会代表根纳季·彼得鲁欣和儿子亚历山大,摄于卡卢加州,1981年。
标签: 苏联平民生活俄罗斯人历史