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The purpose of the article is to study historical politics as politics of memory in the modern Turkic republics of the Volga region in contexts of visualization of memory by means of cinematography. The author analyzes the role of the politics of memory in the formation of the memorial canon as a form of development of national identities in Tatarstan, Bashkortostan and Chuvashia. Methodologically, the article is based on the principles proposed in the memorial turn and the analysis of the politics of memory in intellectual history and the history of ideas. The novelty of the research lies in the comparative analysis of the politics of memory in the three Turkic republics of Russia in its visual contexts, while most other studies ignore the visual dimensions of memory, being focused on the discursiveness and narrative of the memorial politics. The article analyzes 1) the features of the official forms of historical politics in the context of its visualization, 2) the systemic and structural characteristics of the visualization of the memorial canon as an element of the politics of memory, 3) various current strategies and practices of commemoration within the framework of visuality in modern Turkic republics. The article shows the potential of visuality as one of the forms of historical politics for the consolidation of national identities.

This article features the contemporary politicy of memory in the Republic of Sakha (Yakutia), as well as the role of historical politics in the development of national memory and identity. Methodologically, the research relied on the principles of the memorial turn and memory policy within the paradigm of intellectual history and the history of ideas. The novelty of the study lies in the analysis of common and unique features of historical politics as a politics of memory in Yakutia because non-European cultures still remain underrepresented in historiography. The author also analyzed the role of state strategies and media actors in the development of collective historical memory, as well as the role of state events in the local memorial policy, e.g., the 100th anniversary of the Republic of Sakha. The author believes that historical politics contributes to the development of national identity via the culture of memory and the memorial canon. The results of the study suggest that elites became the main actor of historical policy because they shape the local memorial culture in an attempt to legitimize their own status with the help of various memory tools, including narrative practices and their visualization.

The purpose of the article is to analyze the politics of memory as a broad system of cultural practices and communications in modern Yakutia in the context of the development of cinema as a segment of national identity. The author analyzes the role of historical politics in the development of national memory and identity in the Republic of Sakha-Yakutia in the context of the visuality of modern culture. Methodologically, the article is based on the principles proposed in the memorial and visual turns, which significantly changed the vectors of memory studies, actualizing the principles of interdisciplinarity. The novelty of the study lies in the analysis of common and unique features of the functioning of visual dimensions in the politics of memory in Yakutia. The article analyzes 1) visualization strategies of memorial culture, 2) modern Yakut films as elements of modern mnemonic space, 3) the role of visual practices in the development of the memorial canon. The article presents a broad understanding of the historical politics of memory. The author believes that the politics of memory should not be limited only to the activity of specialized institutions and professional politicians who manipulate the facts of the past to solve the problems of the ruling elites. In this article, the politics of memory is analyzed through the prism of national cinema, perceived as one of the forms of constructing images of the past. National cinema, in the context of the politics of memory, solves tasks similar to the same ones of institutionalized actors, but does it by different methods. Therefore, in this article the impact of historical politics to the development of national identity is shown through the prism of the culture of memory and the memorial canon. The results of the study suggest that representatives of the Yakut national intelligentsia are the main actors in historical politics because they construct memorial culture contexts of collective memory visualization. It is assumed that visual forms of memory complement the traditional narrative-discursive strategies for constructing images of the past in the Yakut identity and common mnemonic space.