Деякі зауваги до методології культурологічної аналітики кінематографа
Loading...
Date
2019
Authors
Кирилова, Ольга
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
У статті ставиться питання про побудову інструментальної моделі культурологічної аналітики кінематографа. Запропоновано виокремити такі її методологічні виміри: морфологічний, історико-культурологічний, культурно-типологічний, культурно-цивілізаційний, семіотичний, культурно- антропологічний та деякі інші. На відміну від універсальної, обґрунтовано специфічну культурологічну модель танатологічного аналізу кінематографа з такими рівнями: танатохронотопічним, еротанатологічним та ін.
The article resolves the question of construction of the pattern for cultural study of film, which is supposed to be the instrumental construct. This study introduces the key methodological dimensions of this pattern, such as morphological, historical, typological, civilizational, semiotical, anthropological, etc. Apart from the universal culturological pattern, a specific thanothological pattern is examined, with the following levels: thanathochronotopical, erothanathological, etc. The thanathological approach to the film art is applied by a number of research means which are: 1) a subsequent cultural reconstruction of the "death patterns" in film; 2) a semantic analysis of cinematic texts by new research means of "mortal cinematic code" introduced in this study; 3) a complex and systematic analysis of the film art as descending from the decadence culture of the fin de siècle period (the 19th–20th c.); 4) outlining a number of specific dimensions of the newly introduced field of humanities – cinematic thanathology; these dimensions are as follow: eschatological, immortological, erothanathological, and feminine. Thanathology of the film is proved to be an independent discipline within the film studies and cultural studies, having the phenomenon of the cinematographic death as its object and a number of methods (semiotic, phenomenological, anthropological, textological) constituting its complex approach, and also a number of sub-disciplines, such as eschatology of the film exploring the cinematic patterns of the end of the world, immortology of the film examining the forms of subjective immortality provided by the screen, and the immortality of the screen image and reality, erothanathology exploring the interdependence between the cultural universalia of love and death in the screen imagery and narrative.
The article resolves the question of construction of the pattern for cultural study of film, which is supposed to be the instrumental construct. This study introduces the key methodological dimensions of this pattern, such as morphological, historical, typological, civilizational, semiotical, anthropological, etc. Apart from the universal culturological pattern, a specific thanothological pattern is examined, with the following levels: thanathochronotopical, erothanathological, etc. The thanathological approach to the film art is applied by a number of research means which are: 1) a subsequent cultural reconstruction of the "death patterns" in film; 2) a semantic analysis of cinematic texts by new research means of "mortal cinematic code" introduced in this study; 3) a complex and systematic analysis of the film art as descending from the decadence culture of the fin de siècle period (the 19th–20th c.); 4) outlining a number of specific dimensions of the newly introduced field of humanities – cinematic thanathology; these dimensions are as follow: eschatological, immortological, erothanathological, and feminine. Thanathology of the film is proved to be an independent discipline within the film studies and cultural studies, having the phenomenon of the cinematographic death as its object and a number of methods (semiotic, phenomenological, anthropological, textological) constituting its complex approach, and also a number of sub-disciplines, such as eschatology of the film exploring the cinematic patterns of the end of the world, immortology of the film examining the forms of subjective immortality provided by the screen, and the immortality of the screen image and reality, erothanathology exploring the interdependence between the cultural universalia of love and death in the screen imagery and narrative.
Description
Keywords
кінематограф, візуальність, культурологічне моделювання, декаданс, танатологія, стаття, Film Art, visuality, cultural patterns approach, decadence, thanathology, article
Citation
Кирилова О. О. Деякі зауваги до методології культурологічної аналітики кінематографа / Ольга Кирилова // Наукові записки НаУКМА. Історія і теорія культури. - 2019. - Т. 2. - С. 64-71.