Article name New Identity in Modern Patriotic Cinema
Authors Polyushkevich O.A. Candidate of Philosophy, Associate Professor,
Bibliographic description Polyushkevich O. A. New Identity in Modern Patriotic Cinema // Humanitarian Vector. 2022. Vol. 17, No. 2. PP. 192–202. DOI: 10.21209/1996-7853-2022-17-2-192-202.
UDK 373.46.5
DOI 10.21209/1996-7853-2022-17-2-192-202
Article type Original article
Annotation The paper analyzes the construction of a new identity of citizens of the Russian Federation through modern patriotic films that form a holistic symbolic image filled with visual and verbal patterns of behavior. The results of an expert and focus group interview are given, as well as the results of an online survey on the assessment of the formation of new and transformation of old forms of identity, which strengthens or weakens the patriotic feelings of citizens after the release of the film. The stages and forms of identity change associated with the superficial preservation of old symbols, without deep meanings, the substitution of values and the displacement of some values by others are revealed. The forms and meanings of the transformation of values that affect the new meanings of identity (the identity of survival and the identity of development and realization) will also be highlighted. We pay particular attention to lexemes that highlight the features of major types of social behavior, as well as their social inclusion and evaluation of publications on patriotism on their pages in social networks. The results of a quantitative survey indicate a greater interest and attention to foreign films that influence the identity, but the features of Russian cinema are indicated, revealing additional meanings and forms of implementation in domestic cinema. There are four groups of constructing a new identity through the assessment of modern patriotic films: the first are those who watch these films with family and friends out of interest in the plot and full complicity and empathy with the characters, the second are those who watch because of fashion, the third watch them due to philistine interest, and the fourth are those who do not watch but assess (often negatively) modern patriotic films. The analysis of views on modern patriotic films of representatives of these groups in personal social networks is carried out. Conclusions are drawn about the prospects for constructing a new identity through patriotic films for children and adults, and the general mechanism for constructing a new modern identity of Russians is considered.
Key words identity, patriotism, modern films, cinematography, types of viewers, types of identity
Article information
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