The aim of this article is to bring the issue of peace more definitively into the increasingly complex vision we have of the postwar era and to give particular thought to the place of the military man within a society that was now supposedly orientated toward peace. To do so, the discussion will range across both lived experience and cultural representations-predominantly of a visual nature-that broached the issue of peace, paying close attention to the ways in which the legacies of the Great Patriotic War shaped how serving soldiers and demobilized veterans articulated the need for peace and their role in ensuring its preservation. What will be repeatedly demonstrated in what follows is that the shadow of the Great Patriotic War loomed large over both cultural representations and personal conceptualizations of the ideal of peace, and as such the military man-both real and imagined, serving and demobilized-was integral to the discourse surrounding this most pressing social concern.

Between 5 November 1957 and 16 March 1958, the new Central Exhibition Hall in Moscow (Manezh) hosted the All-Union Exhibition dedicated to the Great October Socialist Revolution. Coming as it did just over a year after Nikita Khrushchev's denunciation of Stalin, this hugely significant exhibition offers a unique lens through which to examine the dynamics of early Destalinization and the artistic conceptualization of the October Revolution in this new post-Stalinist landscape. This article demonstrates that while the general appeals for greater party spirit in art were highly influential in shaping how the Revolution and Civil War were presented thematically, the period was impervious to concurrent calls for artists to grapple with some of the more conflicted aspects of the human condition, leading to depictions of these events that were romantic and often sentimental in tone. This was in stark contrast to works displayed that dealt with the Great Patriotic War, which at last started to address the far more problematic and conflicting legacies of victory in 1945. Consequently, at the All-Union Exhibition, visitors were presented with two very different visions of the Soviet Union's foundational experiences, and at the root of this was the instability unleashed by Destalinization.

Chapter 23 Gender, Media, and Modernity Adrian Bingham, Adrian BinghamSearch for more papers by this authorMatilde Eiroa, Matilde EiroaSearch for more papers by this authorSusanne Kinnebrock, Susanne KinnebrockSearch for more papers by this authorClaire McCallum, Claire McCallumSearch for more papers by this author Adrian Bingham, Adrian BinghamSearch for more papers by this authorMatilde Eiroa, Matilde EiroaSearch for more papers by this authorSusanne Kinnebrock, Susanne KinnebrockSearch for more papers by this authorClaire McCallum, Claire McCallumSearch for more papers by this author Book Editor(s):Klaus Arnold, Klaus ArnoldSearch for more papers by this authorPaschal Preston, Paschal PrestonSearch for more papers by this authorSusanne Kinnebrock, Susanne KinnebrockSearch for more papers by this author First published: 13 August 2019 https://doi.org/10.1002/9781119161783.ch23 AboutPDFPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShareShare a linkShare onFacebookTwitterLinked InRedditWechat Summary This chapter explores the gendering of media markets, media debates about changing gender roles brought about by modernity, and the attempts to challenge and resist traditional gender ideologies from the mid-nineteenth century to the present. It focuses on six European countries – Britain, France, Germany, Spain, Italy, and Russia – in order to identify variations created by different levels of economic development, contrasting political frameworks (democracy, fascism, communism and dictatorship) and alternative religious systems (Protestantism, Catholicism, and atheism), as well as a multitude of social and cultural permutations. The chapter is structured around three chronological sections – the mid-nineteenth century to the outbreak of World War I, 1914 to the 1960s, and the 1970s to the present – capturing some of the most important shifts across the periods. Despite notable changes over the decades and variations across Europe, the resilience of many assumptions about gender and sexuality remains striking. The Handbook of European Communication History RelatedInformation

"Making Martyrs: the language of sacrifice in Russian culture from Stalin to Putin." Social History, 44(1), pp. 148–149

"Demobilized Veterans in Late Stalinist Leningrad: Soldiers to Civilians." History: Reviews of New Books, 46(1), pp. 17–18

Following the end of the Great Patriotic War, an estimated twenty‐five million people were left homeless and countless more were left dealing with the realities of single‐parenthood, fatherlessness and bereavement. This article will chart the attempts to both articulate and obfuscate the impact of this loss on the family in contemporary visual culture, focussing primarily on the conceptualisation of the Soviet soldier as a father. It will argue that the War represented a fundamental shift in the imagining and portrayal of fatherhood: the use of the family as a motivational tool in fighting against the Fascists had intrinsically tied masculinity to paternity and patriotism, and this new focus on the Soviet man as a family man would be carried into the post‐war period. Running parallel to the increased emphasis on the Soviet male in the domestic space, it will also be shown that the demographic reality of the post‐war family was articulated in numerous works of the period, through the representation of the single mother with her children and the introduction into the home of the ultimate surrogate father, Stalin himself. The degree of control which the Soviet state exercised over cultural production–particularly during the years of Stalinism–is well‐known and this has led to an acceptance that Soviet culture therefore offered a monochrome and uniform vision of Soviet identity and experience. The representation of the domestic space in the aftermath of the Great Patriotic War challenges this perception. As the material for this research has been gathered from images found in the popular press, the fact that these works were not only being created but were then being circulated to a mass audience requires us to reconsider our totalising perceptions of Soviet cultural production, and demands a far more nuanced analysis than seeing Socialist Realism, even under Stalin, as being completely devoid of social reality.

1960s as part of a wider reassessment of the War and its legacy in Soviet visual culture.Drawing on images reproduced in both professional and popular publications, this article charts the changing representation of the war-damaged man in Soviet visual culture from the outbreak of war in 1941 until the reinstatement of Victory Day as a public holiday in 1965. Through such images it is shown that art followed a very different trajectory than literature or film when it came to dealing with such problematic aspects of the war experience, a disjunction that is attributed to the inherent nature of the various cultural genres. Furthermore, it is demonstrated that the most dramatic shift in the depiction of the damaged man came - not in the Thaw as we might expect - but in the mid