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Regular version of the site
Of all publications in the section: 9
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Article
Виноградов А. Ю., Шмаина-Великанова А. И., Брагинская Н. В. Мировое древо. 2010. № 17. С. 132-178.
Added: Dec 26, 2010
Article
Андреев М. Л. Мировое древо. 2014. № 20. С. 133-162.
Added: Feb 13, 2015
Article
Доброхотов А. Л. Мировое древо. 2011. № 18. С. 107-148.
Added: Jun 21, 2012
Article
Андреев М. Л. Мировое древо. 2009. Т. -. № 15. С. 28-38.
Added: Jan 19, 2010
Article
Шмаина-Великанова А. И. Мировое древо. 2007. № 14. С. 77-89.
Added: Jun 1, 2013
Article
Доброхотов А. Л. Мировое древо. 2014. № 20. С. 70-94.

The structure of Hitchcock’s films reveals a kind of "philosophy of symbolic forms" that can be interpreted as an artistic experiment in the salvation of classical rationalism and moral values, which is realised in the form of a polemic against the aesthetics of modernism. This paper undertakes a morphological analysis of Hitchcock’s films "Murder!" (1930) and "The Man Who Knew Too Much" (1956), and illustrates his poetics as an ensemble of optical, acoustic and narrative techniques, which create a complex symbolic whole.The ideological foundation of his films, hidden beneath narrative representations, is classic traditional morality. Hitchcock’s visual images  comprise a system of dynamic and static "hieroglyphs" that uses an arsenal of classic paintings. The music in his films is a parallel, but independent and active text that uses a sophisticated counterpoint with para-musical and acoustic elements.Musical symbols are combined in the complex syntagma with other images and symbols (actually creating a soundtrack that makes up part of the autonomous fictitious world), and just like other elements of his poetics, point the way to restore the spiritual integrity of the individual.

Added: Sep 20, 2014
Article
Резвых П. В. Мировое древо. 2006. № 12. С. 87-116.
Added: Apr 19, 2010