Christian motives in Soviet cinema

The paper highlights the history of emergence and development of Christian motives in Soviet cinema, from the times of persecution against the Church in 1920–1930 up to the era of Perestroika. There is a difference in the perception of Christianity as the basis of traditional ethno-cultural identity and as the basis of universal moral values, which in both cases contributed to the gradual legitimization of Christian subjects in Soviet culture in spite of the multilevel system of ideological censorship. This paper analyzes the deep ideological trends in the evolution of Soviet culture, which allowed, on the one hand, the atheistic authorities themselves and, on the other hand, the experimenting filmmakers to address the topic of religion in general, Christianity in particular and specifically the Russian Orthodox Church in different ways in different periods of Soviet history. The illustrative examples of using various Christian symbols, Biblical quotations, events of religious history, the representation of the image of a Christian priest and a believer as such in Soviet films, as well as the increasingly noticeable appeal of Soviet filmmakers to Christian associations and allusions are also shown here. The author pays special attention to contradictory ideological trends during the three basic periods of Soviet history in the second half of the twentieth century: The Khrushchev Thaw, the Era of Stagnation and Perestroika. All three contributed to the legitimization of religious themes in Soviet cinema and determined the specifics of the attitude to religion in the late Soviet period. The films by such directors as Mikhail Romm, Marlen Khutsiev, Andrei Tarkovsky, Michael Kalik, Andrei Konchalovsky, Nikita Mikhalkov, Gleb Panfilov and others are considered in the paper as the most significant precedents. Hypotheses are put forward about further ideological strategies of the Soviet state regarding Orthodox Christianity, if the Communist Party had been able to retain its power.

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