In his essay the author tries to demonstrate to the reader the presence of kitsch in Terence Davies's film 'Distant Voices, Still Lives' (1988). He pays attention to the manner of imaging and use of popular songs on the soundtrack, and shows the dual approach to kitsch, that is typical of Davies. On the one hand, Davies rejects kitsch as a lie concealing domestic violence, and on the other hand rehabilitates the status of kitsch as a source of consolation for individuals and groups. The very dialectics of kitsch and truth is the subject matter of the text.
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