loud matter of silenced monuments

Statues of mythologized heroes of Communist regimes all over the former Socialist Bloc and across the Soviet Republics were erected to execute a symbolic top-down power. For a long time, the materiality of Communist monuments has been ignored in favor of monuments’ primary function to support the historical myth. In this chapter, thus, I analyze Deimantas Narkevičius' The Head (2007) and 20 July 2015 (2015), as well as, Emilija Škarnulytė’s Aldona (2014), three films by two internationally acclaimed Lithuanian filmmakers that expose the unseen life of Communist monuments after the collapse of the Soviet Union by prompting a sensory encounter with their materiality. Referring to Mikhail Iampolski’s philosophical insights into materiality of mediated memory as well as on various theories of haptic cinema, in this chapter I argue for the potential of lived and monumentalized signs of time to annihilate each other on the screen that elicit a sensory-affective engagement with the past in the present. Finally, I accentuate a broader tendency of a sensory revelation of unseen material trajectories of supports of socialist memory in the films from post-socialist countries against all-too commonly accepted discourse of "ostalgia".