The article presents the analysis of the origins of the cinematic aesthetics of American film director David Lynch, which dates back to the classics of avant-garde cinema (Jean Cocteau, Maya Deren, and Kenneth Anger). The article provides an overview of the aesthetic of Lynch’s borrowings from the works of the classics of avant-garde cinema, particularly examines the work of Kenneth Anger. The transformation of the ideas of Crowley in Anger’s films gave rise to the use of esoteric motifs in contemporary cinema. The article demonstrates how strongly Anger affected Lynch’s aesthetics. Through Anger’s films, Lynch met esotericism of Crowley, whose teachings he has laid as the foundation for mythology of his films, especially Twin Peaks. There are themes that common to both Lynch and Crowley: sadism, sexual perversion, drugs. These themes demonstrate how much Lynch relied on Crowley’s magic. Crowley’s idea of the spiritual double (Higher Self) was the basis for theme of dissociative disorders common to most of Lynch’s movies. The article concludes that Lynch deliberately appeals to esoteric teachings, which are the most difficult and inaccessible to the masses, using them as a building material to create his own original aesthetics. Key words: western esotericism, culture studies, religious studies, cinema studies, film aesthetics, D. Lynch, J. Cocteau, M. Deren, K. Anger, A. Crowley Pavel G. Nosachev
This article is devoted to the analysis of the politics of the past in Russian cinema. This research is conducted within the scientific field of public history, this approach sheds light on the existence of a compromise in the reconstruction of the past between the authorities and society. One identifiable trend was toward the transformation of classic historical drama into the heroic past: comic-style blockbusters about the super heroic past have been created.
It is a life-style and a resident representation in the middle of the world. Rather than pursuing a rationally calculated career goal; humility, compassion, solidarity and an underdog eccentricity. It is not necessary to rely on the spontaneity, solidarity, counterintuitiveness, musicality and poiting.
In this article Saltykov problematizes the pragmatics and reputation of "snuff films", which depict violence toward a victim who will allegedly die a real, not cinematic death at the end of the film. Urban legends offer various rumors about films made "on special order" that record people being maltreated in real time. Saltykov discusses the genesis of these notions and the mythology of snuff film overall. He also suggests a short historical survey of the subgenre's development as it is understood by viewers (primarily those who have not seen the films, but who think of theme as representing a possible extreme). The basic hypothesis of the article lies in an explanation of the specifics of the snuff genre through the figure of the client, who in hyperbolized fashion brings about the logic of late-capitalist market relations: the product can be anything, including the human body and human life.