Artistically-shaped implicit propaganda of Nazism as a subject of cultural expert study

Current government policy demonstrates an attempt to restore the spiritual unity of the Russian society. There is a task of understanding the basic components of national cultural identity, which is realized in a collective format. Tools to ensure the unity of society through the formation of its collective identity include the preservation of cultural information, giving special value-semantic content. In a series of such events is the Great Patriotic War, which, representing the common historical past, becomes a unique component of the national-cultural identity. This is indicated by the formation of the system of artistic images that embody the military theme in art. A symbolic model, including Nazi symbols and attributes, remains one of the representatives of the Russian world expression of the ideological meanings of Nazi Germany today. However, in the modern reality, the semantic and axiological stability of such images is problematized. With the aim of strengthening the foundation of the cultural unity it was decided to legislatively negate the demonstration of Nazi symbols. However, despite the efforts of the legal nature to protect society from the restoration of the Nazi ideology, there is an issue of distribution of its elements in a variety of visual forms in the space of modern art and mass media. The greatest danger is artistic and image forms of hidden propaganda of Nazism, destructively influencing the basis of national cultural identity. Thus, the realities of the modern cultural world emphasize the problem of formation of a professional methodological program that allows one to work effectively with such materials. Public expectations in this case rest on cultural expertise. The aim of the article is an attempt to provide an analysis of certain forms of hidden propaganda of Nazism, which can provide theoretical and methodological assistance in the process of detecting them. In a series of such examples we have identified, firstly, creating neutral value-semantic conditions of demonstration of German propaganda art of the Third Reich; secondly, the onesided flow of materials aimed at creating a "human face" of its leaders; thirdly, the inclusion of Nazi symbols and images in a completely foreign art system. In the three cases, the operating mechanism reanimating the propagandistic nature of the images is the strategy of minimization of techniques that form the interpretive context. Thus, we have to deal not with the direct dissemination of the ideology and policy of the Nazis, but with the phenomenon misleading the perception of the phenomenon of Nazism, which implicitly destroys the value paradigm of the national culture.

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