Танатологія декадентського кінематографа

Кирилова, Ольга Олексіївна

Танатологія декадентського кінематографа

Кирилова, Ольга Олексіївна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2652

Date: 2018

Abstract:

Здійснено танатологічний аналіз культурного феномену декадентського кінематографа. Предмет дослідження вперше розглянуто як структуровану цілісність, що: 1) виникла в культурі декадансу межі ХІХ-ХХ ст.; 2) поширюється на сучасність, виводячи поняття декадансу із зазначених хронологічних рамок; 3) є формою культурологічної рефлексії, здійсненої кінематографічними засобами, стосовно декадансу як типу світогляду, символізму як філософсько-естетичної системи та модерну як стилю; 4) транслює певний тип танатоорієнтованого світосприйняття, похідний від ментального типу декадента межі ХІХ-ХХ ст. Танатологічний підхід до розгляду декадентського кінематографа вперше сформульовано й застосовано в: 1) послідовній культурологічній реконструкції танатичних декадентських моделей; 2) символістсько-семантичному аналізові кінотекстів через інструментальне нововведення «мортального кінокоду»; 3) виокремленні субдисциплінарних вимірів: есхатологічного, іммортологічного, еротанатологічного, які конституюють новообґрунтовану в дисертації дисципліну - танатологію кіно.

Description:

This study provides an example of thanathological analysis in the field of philosophy of the cultural phenomenon of decadence in the film art. The complex range of topics and approaches combined in this study is genuinely original in the choice of the focus point of study. The decadence in film art is first introduced as a complex structured whole with a number of characteristics: 1) having its roots in the decadence culture of the fin de siècle period (XIX-XX), 2) including modernity beyond chronological borders of XIXth fin de siècle, making cultural totality out of the notion of decadence, being a kind of cultural study of decadence as a worldview, symbolism as philosophical and aesthetical system and art nouveau as a «great style» by cinematic means, 4) broadcasting a world-perception oriented towards death which descends from the mental pattern of a decadent of the fin de siècle period (XIX-XX). The thanathological approach to the ‘film decadence’ is first applied by a number of means: 1) a subsequent cultural reconstruction of the decadent ‘death patterns’ in film, 2) the symbolist and semantic analysis of cinematic texts by new research means of «mortal cinematic code» introduced in this study, 3) the complex and systematic analysis of the film art as descending from decadence culture of the fin de siècle period, outlining of the number of specific dimensions of thenewly introduced field of humanities - cinematic thanathology; these dimensions are: eschatological, immortological, erothanathological, feminine. In the described cultural study of decadence in film art the broad massive of films has been involved including those from Ukraine, Russia, Western and Eastern Europe, North and South America, specifically mentioning rare archival films non-digitalised and first involved in the field of cultural research by the author. The morphology of ‘decadent film art’ reconstructed in the dissertation is based on the ternary cultural pattern including the ‘core’ of multilevel art nouveau cinematic stylization, a ‘peripherical’ number of partly-corresponding categories of films, including the screenings of symbolist texts, and the third element of film decadence synthethized with Post-modernist film aesthetics, reaching beyond the limits of the described cultural structure. Correspondence as a key symbolist concept descending from the French symbolist theory by C. Baudelaire defines a ‘core’ work of decadent art, in particular, that of cinema, as a multi-level cultural pattern which becomes a cinematic paradigm. The ‘decadent pattern’ of an oeuvre is based on the structure of the ‘decadent’ subject in culture whose structure is reverse, or ‘extimate’, in terms of psycho-analysis, and constitutes the antropological level in this pattern together with narrative and worldview levels; the specific cinematic pattern is supplemented by the morphological, montage, stylistical, rhythmical levels. The structural analysis of the film art based on the symbolist theory is regarded as a specific approach for the decadence in film art introduced in the dissertation. The symbol of symbolists is proved to have a cinematographic nature in theories of C. Baudelaire, S. Mallarme, A. Bely etc. having the element of ‘death’ as a semantic core in its structure. On this basis the key notion of ‘mortal code’ in thanathology of the film art has been elaborated. 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 immortalityof the screen image and reality, erothanathology exploring the interdependence between the cultural universalia of love and death in the screen imagery and narrative. A number of universal (‘international’) thanathological patterns is reconstructed and analysed in the dissertation, among them: verification of the aesthetic object (love object) by means of death, feminisation of death, identification with the counterpart from underworld, the creation of death-engendering landscape in the cinematic text of the city. Also a number of specific local decadent patterns is reconstructed in the dissertation: the specifically Ukrainian decadent pattern in the film art based on the notion of ‘complex cinematic text’ descending from such decadent writer as V. Vynnychenko is shown to be descending from the European pattern based on the reverse erothanathology and the infanticide as a concept of life-creation as film-creation, as opposite to Russian Silver Age thanathological pattern methaphysically based on the concept on ‘death of Alexander Blok’ as a core of cinematic mortal code subjected to the effect of displacement.

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