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Реверсивность эстетики социалистического реализма (на примере современного российского кинематографа)
Наука телевидения. 2022. Т. 18. № 2. С. 41–57.
Yefanov A.
The article is devoted to the socio-cultural study of the trend of reversibility of the socialist realism aesthetics existing in the modern Russian cinematography. As a research optics, an integrative cultural-philosophical approach is chosen, which combines the features of the traditional cultural approach (focusing on the basic units of culture – material products, works of art and patterns of behavior formed on their basis) and aesthetic approach (appeal to the reflective study of the expressive form of art products and its influence on mass consciousness, as a result of which mass culture is constructed). A set of methods is used that reveals the potential of an integrative cultural-philosophical approach: historical and genetic analysis, modeling, case studies. The empirical base is film products representing historical events, united by the blockbuster format, released by Russian production companies, which went on wide distribution (Balkan Frontier, Time of the First, Upward Movement, Donbass. Outskirts, Kalashnikov, Crimea, Legend No. 17, Podolsky Cadets, Salyut-7, 28 Panfilov). Chronological scope of the study: 2015–2021. Based on the results of the study, it is concluded that the socialist realism aesthetics, through the cultivation of a pro-Russian narrative, is designed to emphasize in the mass consciousness the originality of the Russian state from the point of view of its unique status, which largely determines the situation of confrontation in the international arena, thereby denoting the instrumental nature of cinema products, endowing the institution of cinema the role of an idealistic propagandist of modernity.
Language:
Russian
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