The visual approach is combined with a spatial one: The summer camps were part of a Soviet topography of childhood offering heterotopic spaces in the context of the Soviet cult of childhood. The emphasis is on the social practices surrounding the (re)production of the images and narrations by making, choosing and arranging photographs with slogans and emblems in the albums. The paper explores not so much the single photographs, but the albums as artefacts. At the same time, the photographic reports are witnesses of the gaze upon this childhood. As adult narrations of a happy childhood, the albums are part of a cultural system that created and represented a specific topography of Soviet happy childhood. The elaborate albums were conceived as internal reports for local authorities and submitted to a regional competition for the best camp. Sources are photo albums of pioneer summer camps from the 1960s and 1970s situated in the southern Urals and in the Moscow region, interviews with former camp leaders, and instruction materials. Using the key concept of socialist realism as interpretational frame, the paper investigates the visual construction of the spaces of the ‘happy Soviet childhood’ in provincial contexts. In the memorial books, the Communist abstraction was concretized: the utopian future found its embodiment in multiple images of the first Soviet generation. As the essay suggests, the 1924-25 memorial media campaign was instrumental in merging the abstract language of the Russian avant-garde with the concrete visual idioms of the documentary photography. Amalgamating ideology, text, painterly devices, and photographic images, photomontages in children’s literature offered convincing visual models of plausible belonging and connectedness for the young reader: realist and spectacular at the same time. Often, these textual collages were interspersed with photo-illustrations and photomontages that prominently featured Lenin surrounded by children. Lenin’s death in 1924 generated a wave of publications for children in which their own stories, recollections, and poetry about the leader were accompanied with texts written by adults. More specifically, it traces the transformation of photomontage by looking closely at a distinctive genre of the illustrated book: the so-called Leniniana for children. The essay explores only one dimension of this campaign: the radical turn towards the optical in the early Soviet media. Zkouknout seril Almazy Stalina, sledovat online v HD, nyn k dispozici. Deploying various genres and platforms, the state created a diverse network of institutions and mechanisms that could represent and disseminate important Communist ideas and concepts. Almazy Stalina Vechny vlen Vechny vlen, Pustit, seril, Almazy Stalina, cel dl online Vechny vlen. During the first decade after the Russian Revolution, the new Soviet state went through a major mediatization campaign.
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