Between Forgotten Frames: The Rediscovery and Challenge of Iryna Pap

This dissertation examines the life and work of Iryna Pap, a Ukrainian Soviet photojournalist who contributed significantly to the development of photography within the Ukrainian Republic, particularly through her work with the Izvestiya newspaper between 1957 and 1972. Pap’s photographic legacy is often overshadowed by broader narratives of Soviet propaganda and the complex socio-political context of the time. This study aims to reframe Pap’s work, considering her not just as a Soviet photographer, but as a Ukrainian Soviet photographer, navigating the constraints of her era while leaving a lasting impact on the trajectory of Ukrainian photography through her educational contributions.The dissertation begins by exploring Iryna Pap’s biography, emphasizing her marginalization due to her Jewish heritage, gender, and choice to work in Ukraine rather than Moscow. These intersecting forms of marginalization influenced her career path within the male-dominated, ideologically driven field of Soviet photojournalism. Despite these challenges, Pap gained a prominent position at Izvestiya, where she documented the everyday lives of Ukrainians and the ideological vision of the Soviet state, often through a human-centered lens. Her photographs reflect the optimism of the Soviet era, though they are subtly infused with empathy and humor, distinguishing her work from purely propagandistic representations.The dissertation also delves into the historical context of Soviet photography, tracing its evolution from the 1920s and 1930s, through the debates surrounding its role and methodology in the post-Stalin era. Pap’s photographic approach was deeply rooted in the documentary style that emerged in Soviet photojournalism, yet she managed to introduce personal artistic expression into her work. This exploration highlights the ideological constraints of Soviet photography, which were often at odds with the more humanistic and aesthetic aspects of Pap’s practice.A key element of the study is the visual analysis of selected photographs by Pap, focusing on her portrayal of ordinary people, especially women, children, and families, as well as her documentation of Soviet holidays and leisure activities. These images demonstrate Pap’s ability to capture the lived reality of Soviet life while adhering to the conventions of the time. Additionally, the dissertation compares Pap’s work in the Soviet Union with her photographic experiences abroad, offering insights into the contrasts between Soviet and non-Soviet visual culture.The final chapter addresses the complex reception of Pap’s work in contemporary Ukraine, where the legacy of Soviet-era cultural production is often met with rejection and denouncement. In the context of Ukraine’s decolonization process and its struggle for cultural identity, Pap’s work poses a challenge to the simplistic categorization of Soviet art and photography. Rather than rejecting her work outright, this study proposes that Pap’s photographs offer valuable historical testimony of life in Soviet Ukraine, providing a nuanced understanding of the era’s ideological constraints.This dissertation not only contributes to the underexplored field of Ukrainian Soviet photography but also offers a critical examination of the role of photography within the totalitarian Soviet state. By considering Pap’s work within its broader historical and political context, it seeks to illuminate the complexities of artistic expression under Soviet rule and the continuing relevance of her legacy in post-Soviet Ukraine.