150 Artwork in Albania: The process of transformation from propaganda tool before the 90s to JT tool after the 90s 1.5. Effects of Art as dealing with the past We should admit that it is very important the role of the effect of the artwork on the broader public. In this regard, De Greiff says that “Cultural and artistic projects also have the potential to evoke powerful reactions among the audience to the effects of human rights violations on the lives of victims in ways that other forms of communication, such as official truth commission reports, may not"23 He adds further that such transformations of societal attitudes towards victimization are critical in affecting transitions. The aforementioned point of view is dedicated by Ramiez-Barat to the use of the symbols, metaphors, or parables—or by linking individual and personal experiences to collective narratives—cultural and artistic projects can capture public attention, trigger empathy and foster dialogue.24 2. ARTWORK AS A MECHANISM OF THE DICTATORIAL, THE CASE OF ALBANIA The dictatorial systems aim to use all public communication mechanisms to propagate ideology to the masses. Propaganda is the set of methods used by an organized group in order to attract the mass of individuals.25 It intends to give false information, designed and created with the intention of manipulating certain groups. According to Milovan Djilas, in the totalitarian states, the state uses the media and art to spread the official ideology, to teach it to people, to convince people to follow this ideology and at the end to impose it.26 In dictatorial Albania, referring to the archival documents of the Ministry of Education and Culture issued by the Directorate of Culture in 1977, regarding the function of art as a means of communication of the Party of Labour of Albania is stated: “Our culture and artares importan int front of the class struggle in the ideological field, they do not endure liberal, bureaucratic and technocratic attitudes, etc” 27 With regard to the artistic works created during the period 1945 to 1990, it is noted that the institutions (stimulating and controlling), created by PPSH (Party of Labour of Albania , limit the artistic works by putting it purposefulay in the service of political developments, imposing also the content and the form of artistic creativity. Such a stand is evidenced by the quotation from the archival report illustrated below: “The culture as part of superstructure goes in line withthe Marxist-Leninist ideology of the party. It represents in the works, the great transformations that have been done and continue to be done in our country under the leadership of the party in the understanding of the people, i then material and spiritual world. At the center of this creativity are our people, mass hero, the working person and the communists who are educated and inspired by the party: they create, fight and win in each situation, against every internal and foreign enemy” 28 23. Pablo de Greiff, On making the invisible visible: The role of cultural interventions in transitional justice processes. In Transitional Justice, Culture, and Society Beyond Outreach, Clara Ramírez-Barat, Editor(s), International Center for Transitional Justice (Social Science Research Council, New York, 2014), 19. 24. Ramírez-Barat, In Transitional Justice, Culture, and Society Beyond Outreach, Clara Ramírez-Barat, Editor(s), International Center for Transitional Justice (Social Science Research Council, New York, 2014), 19. 25. Jonila Godole, Gazetaria shqiptare në tranzicion, ( Papirus, Tiranë, 2014), 54. 26. Milovan Gjilas, Fytyra e totalitarizmit, (Fan Noli, Tirane 2006), 299. 27. Retrieved from Central State Archives, Fund 511. File 122, P.32. Y.1976 28. Retrieved from Central State Archives, found 511, file 122, p.4. y.1977