Power as Exercised in Totalitarian Regimes of the Stalinist Era

Mao Zedong, founder of the Peoples Re human race of China, at once said that Every communist must grasp the justness political sympathiesal power grows divulge of the barrel of a gun. Zedongs metaphor accurately characterizes the oppressive record of the Communist regime of the Stalinist era. Such totalistic systems maintain control over its citizens through the exercise of coercion, reward systems, bundle media, and propaganda. This kind of totalitarian government sought to deprive its citizens of person rights and contain them into the system as parts of the Stalinist machine.In One daylight in the Life of Ivan Denisovich, Alexander Solzhenitsyn adorns how the Stalinist labor dwells, or gulags, employ various modes of surveillance, the constant quantity dehumanization of political pris cardinalrs, manipulative reward systems, and back up brutality and force to maintain control over prisoners and uphold the ideology of Stalinism. Another perspective of the Stalinist p ower structure is offered in Andrezej Wajdas controversial read, objet dart of Marble in which a young film producer tries to uncover the truth about a former field of study motion-picture show, Birkut, who miss to obscurity and encounters frequent resistance in her attempts to do so.This film illustrates how the Stalinist government distortd the media and censored controversial literature, film, and art mesh to portray false government succeeder and brainwash its citizens into obeying the repressive regime. This paper provide break apart the polar mechanisms of power employed by the Stalinist totalitarian regimes picture in Solzhenitsyns novel and Man of Marble and will further label how the study of power in specific historical situations enables historians to determine the motivations of those in power and the effectiveness of certain power structures to achieve its goals and provide for its citizens.In Solzhenitsyns One Day in the Life of Ivan Denisovich, the labor camps atomic number 18 depicted as a microcosm for the totalitarian nominate in existence. Gulags became the Soviet governments method of transforming single(a)s under its control into obedient players live simply to physically construct the Soviet state and strengthen the rescue while embodying the ideology of the Stalinist system. The prisoners were forced to work in crude(a) weather conditions, consume very teensy food, wear very little clothing, and were encouraged to spy on one another to improve their individual situations.The majority of the prisoners in the cap are helpless victims who should not counterbalance be imprisoned the Soviet authorities stand unjustly punished them for they provide free labor. At the camp, many of the officials delight in treating the prisoners with inordinate cruelty. The Captain is sentenced to ten days of solitary confinement because he has languid an unauthori izzard jersey under his uniform in order to stomach warm. They too t hink nothing of stealing part of the meager rations of the prisoners so that they can have more for themselves.The prisoners cannot receive adequate medical look at for the rule of the hospital is to admit only two people a day no matter how many may be sick. analyze for precedent, the exchange between Buynovsky, who jokingly announces the Soviet decree, and Shukhov which shows the absurd pompousness of the Soviet government Since then its been decreed that the sun is highest at one oclock, Shukhov replies, Who said that? and Buynovsky replies The Soviet government. () For the characters laws are both unavoidable and arbitrary. The Soviet people have little to say in their government and they do what it tells them to do.Buynovskys joke reveals the Soviet regimes delusion of grandeur. Shukhovs forced false confession to being a traitor to his region also exemplifies the way in which the Soviet government tailors the truth to fits its needs. The Soviet regime imagines itself str onger than not only the sun just also truth itself. Furthermore, Volkovoys differing responses to Buynovskys charges exemplify the hypocrisy in which the entire Stalinist state thrives. He ignores Buynovskys assertion that strip searching in subzero temperatures outdoors violates an article of the Soviet Criminal Code, showing his lack of resuscitate for right and wrong.He is altogether indifferent to others opinions of state-sponsored actions. merely when Buynovsky goes a meter further and accuses Volkovoy of being a inquisitive Soviet citizen, Volkovoy becomes violently indignant. He knowingly violates Soviet law and is thus, in a way, a bad Soviet citizen, but he is unwilling to admit as much. He cares much more about reservation himself look good than making his country look good. Though he disrespects his countrys laws with his action, he wants, hypocritically, to be seen as an ideal Soviet citizen. The labor camp also attacks its prisoners spiritually.By replacing their names with a combination of letters and numbers, the camp erased all traces of individuality. For example, the camp guards refer to Shukhov as Shcha-854. This elimination of names represents the bureaucratic destruction of individual personalities. In Man of Marble, Andrezej Wajda attempts to expose how propaganda, through field icons, was used to present a false impression of Polish success and how these national icons were removed and fell to obscurity when they offered the slightest hint of discontentment with the norm.The film begins by showing propaganda films that praise Birkut as a devout worker who slaves away at brick laying for the officials. Then, Agniezka proceeds to interview the theatre director, who was hired by the government. He tells her about the reality of making the film such as how Birkut was given more food and water un manage the other bricklayers. This is an example of reward power in which the government manipulated Birkut, elevated him to the status of national icon, and gave him additional food and water to ensure that he would continue to work hard for them thereby sustaining that glorified workers picture show greenness to the Stalinist ideology.Wajda uses these two scenes to deconstruct the false imagery that propaganda gives to its viewers. He illustrates how officials manipulate these kinds of situations to their experience political good. The character of Agniezka, the young filmmaker, resists this form of government handling of film and art by embarking on an endeavor to uncover the truth about a once great Polish national icon that fell into obscurity, Birkut. She encounters frequent resistance from others regarding the subject matter of her film but despite the controversy, she continues her work and unleashes the truth about Stalinism.Moreover, Birkut is fundamentally erased from reposition because he refused to change with the existing political system that was overwhelmed with corruption, manipulation, and explo itation. Birkut spoke against that system and essentially the Stalinist government of Poland at this time, erased aspects of the nations collective memory in order to control its citizens. This kind of erasure from memory appeared to be the standard penalty for those who refused to conform. Consider the scene in which Birkut is trying to patronize Witek who has been accused of treason.The bureaucrat informs Birkut to dont try to take things into your own hands. Leave it to us. Trust the peoples Justice. This statement reveals how the government essay to integrate its citizens to fully that their existence became that of automatic obedience, the trust in the Soviet regime would be so solidified that there would surely be little resistance or defiance and the utter submission to their power. At a union meeting where Birkut again tries to address the question of Witek, he shouts that a horrid injustice has been committed.Trade union officials then bias off his microphone and a cho rus begins Socialism will abide by force of example, onward stout workers This line is quite perhaps the most important in the film for it exemplifies how the Soviet regime would laud workers like Birkut and broadcast his intense labor and a glorified image of him through the mass media to encourage citizens to abide by the socialist ideology. However, after on as the film reveals, Birkut becomes demoralized and turns to drinking. His life is now in ruins. Birkut originally came to prominence for supposedly breaking the single shift brick-laying record.However, the newsreel director who recorded the event confides to Agnieszka how he manipulated and outright fabricated aspects of the episode for propaganda purposes. Yet poor guileless Birkut originally accepts everything he is told at face value. As a result, when he falls out of favor with the Party for championing workers rights, it is wrenchingly knotty for him to adjust to life when essentially persona non grata. There mere worry that Agniezka experiences in her quest to finish her film exemplifies how the government employs censorship to embrace the truth.The propaganda newsreel claiming to chart Birkuts life only demonstrates the parading of his image, as he acts out the role of labor hero, admires his marble stature, and the endless posters, which produce his form, and appears before the public as a crowd-pleasing vision of physical glamour. The proliferation and repetition of images of the idealized citizen were knowing to eclipse any suggestion that the state may have no other butt for authority other than the manipulation of these icons.The power of the state to appear to dissolve the individual into the mass is disturbingly echoed twenty old age later in exchanges between Agonies and two women who belonged to the generation of the 1950s the idiot box editor tells Agniezka that, Ive selected everything to do with Birkutalthough the rest is pretty much the aforementioned(prenominal), while Agonies, attempting to divert suspicion as to why she is particularly enkindle in Birkuts statue in the museum when, as the museum guide points out, there are so many others like it, says, I like this onealthough its all the same. Implicit in this proliferation of idealized effigies of model citizens and leaders is the constant presence of state ideology. The collective memory that she unearths crumbles the seamless portrait of Birkut though revealing the painful, lived-through process of molding his image, which the opening newsreel only parades as a finished product.In flashbacks, Birkut is shown to be force-fed for weeks before the event, shaved, and groomed, when to smile, and carefully directed by Burski who ironically tells him to act more like a worker, and quickly turns his television camera away when Birkut collapses, bleeding from the hands, upon completion of the task. Agniezkas investigation of the manipulation of Witek and Birkut is like with the excavation of the v ery foundations of the communist system itself, which claimed popular support upon the basis of the patronage of the worker.Her disinterment of the hidden infrastructure of totalitarian power reveals its social system on baseless myths and rituals. Better to growl and submit. If you were stubborn, they broke you. (41) This quote exemplifies how the Stalinist regime used brutality and force to ensure obedience. Throughout history, individuals and groups have exercised various forms of power in order to control others and their surroundings. It is important to analyze how power is exercised, constituted, and contested in specific historical situations because the world will learn how to use power to produce the greatest results in a given situation.In a totalitarian regime as those depicted in One Day in the Life of Ivan Denisovich and Man of Marble, the individual operates as part of a social machine on the formula of automatic obedience. This is the highest level of the instituti on of power, the creation of an efficient mechanism in which individuals act predictably on the principle of utter submission. The oppressive nature of the Stalinist regimes depicted in the aforementioned novel and film illustrate how the coercive power employed by the system was most futile because it builds resentment and resistance from the people who experience it. He was a newcomer.He was unused to the hard life of the zeks. Though he didnt know it, moments like this were particularly important to him, for they were transforming him from an eager, confident naval officer with a hoop voice into an inert, though wary, zek. And only in that inertness lay the chance of live the twenty-five years of imprisonment hed been sentenced to. (65) This quotation exemplifies how the gulag transformed once steep individuals with fulfilling lives into components of the Stalinist machine and illustrates how the basic need to survive was motivation seemly for the prisoners to obey those in power.A man that at was formerly a distinguished Naval officer was now being integrated into the quite a little and stripped of his individuality and identity to join the Soviets stemma of free labor. The passage suggests that by submitting to the hopeless status of a zed without resistance, one would almost surely survive the brutality of the camp. Works Cited Man of Marble. Dir. Andrezej Wajda. Poland 1977 Solzhenitsyn, Alexander . One Day in the Life of Ivan Denisovich. New York Farrar, Straus, and Giroux Inc, 1991. The definition of Totalitarian. www. dictionary. reference. com/browse/totalitarian