| Abstrakt: |
The article reflects the results of a comparative hermeneutical analysis of Soviet feature films of the second half of the 1950s – first half of the 1980s, including the study of cultural and historical contexts in order to consider their possible influence on the author's views, reflected in the specifics of the depiction of characters and reality, in the choice of plot motifs and other structural components of the film. Based on the results of the analysis, we described and systematized film images, types of movie characters and plot motives reflecting the prevailing “points of view” about cultural values and traditions, and characterizing stereotypical models of social interaction of characters in accordance with the five types of cinematic discourse (interpersonal, artistic-aesthetic, religious-ideological, historical-cultural, mythological), which constitute the content of the structural-functional model of cultural identity developed by us, which is represented in the domestic cinema. The analysis of research on the topic of the article has shown that the problem of cultural identity in the period under consideration was gaining relevance. This was due to the beginning of the weakening of the ideological press, which contributed to the revival of interest in culture. Filmmakers increasingly began to turn to folk culture, the peasant world, the history of prerevolutionary Russia and noble culture. The characters' interpersonal relations were characterized by sincerity and frankness, mutual understanding and mental closeness. The images of nature embodied the feelings of despondency and longing, born of the boundlessness of Russian expanses and contemplation of fading nature. Images of mythologemes of Russian culture – river, tree, house – appeared on the screen. [ABSTRACT FROM AUTHOR] |
