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Идеология ностальгии: проблема прошлого в современном европейском кино
Высшая школа экономики
,
2007.
№ 01.
The author analyses some options of representation of past and history in various forms of cinema (differentiated institutionally, aesthetically and historically), especially in European heritage cinema of the last decade. From the middle of 1990-ties, heritage cinema has been playing an important role in the construction of Pan-European cinema and in the production of ideologically claimed images of European past: landscapes, artefacts, types of cultural behavior, anthropologic patterns and so on. Heritage cinema tries to construct this symbolic “new Europe” community through the image of nostalgic past, and with some specific cinematographic apparatus, which provokes the nostalgic emotion in the spectator. Nostalgia which is often interpreted in cultural theory as a regressive phenomena, or as common effect of modern media (F. Jameson), in heritage cinema creates a unique possibility to differentiate private past and traumatic European history, local human experience and global ideology of states and wars – in order to reconcile us with the past and to provide a non-conflict existence in present. This cultural role and potential of heritage cinema helps us to see the whole nostalgia phenomena as something more complicated and ideologically polysemantic, and to underline the large possibilities of cinema in producing so-called “nostalgic experience” (in F. Ankersmit terms). Besides, the article provides some examples of heritage
cinema genre in contemporary Russian cinema with the same ideological message.The author analyses some options of representation of past and history in various forms of cinema
(differentiated institutionally, aesthetically and historically), especially in European heritage cinema of
the last decade. From the middle of 1990-ties, heritage cinema has been playing an important role in the
construction of Pan-European cinema and in the production of ideologically claimed images of European past: landscapes, artefacts, types of cultural behavior, anthropologic patterns and so on. Heritage cinema tries to construct this symbolic “new Europe” community through the image of nostalgic past, and with some specific cinematographic apparatus, which provokes the nostalgic emotion in the spectator. Nostalgia which is often interpreted in cultural theory as a regressive phenomena, or as common effect of modern media (F. Jameson), in heritage cinema creates a unique possibility to differentiate private past and traumatic European history, local human experience and global ideology of states and wars – in order to reconcile us with the past and to provide a non-conflict existence in present. This cultural role and potential of heritage cinema helps us to see the whole nostalgia phenomena as something more complicated and ideologically polysemantic, and to underline the large possibilities of cinema in producing so-called “nostalgic experience” (in F. Ankersmit terms). Besides, the article provides some examples of heritage cinema genre in contemporary Russian cinema with the same ideological message.