| Article | |
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| Article name | Religious Images in Russian and American Cinema: in Search of God and Human Being |
| Authors | Glagolev V.S. Doctor of Philosophy, Professor, kfmgimo@gmail.comMedvedeva S.M. Candidate of Political Sciences, Associate Professor, svetamedvedeva@mail.ru |
| Bibliographic description | Glagolev V. S., Medvedeva S. M. Religious Images in Russian and American Cinema: in Search of God and Human Being // Humanitarian Vector. 2017. Vol. 12, No. 3. PP. 115–125. DOI: 10.21209/1996-7853-2017-12-3-115- 125. |
| Section | CULTURE AND SOCIETY |
| UDK | 130.2 |
| DOI | 10.21209/1996-7853-2017-12-3-115-125 |
| Article type | |
| Annotation | Religious images are broadly present in such texts of culture as cinema, as well as postreligious images, which preserve the moral potentiality of religious ones because of the continuity of their aesthetic forms. At the same time both religious and postreligious images retain their shared origin – a drive to comprehend the reality mostly through the sensory channel deployed towards the development of the dichotomy of good and evil and search for perfection. From the scientific point of view it is important to analyze the demarcation between, on the one hand, religion as one of the particular forms of reality comprehension and, on the other hand, religious ideology, targeted to solve other goals. The comparative analysis of the figurative language of Russian and American cinematic forms contributes to understanding the universal character of those questions from the point of view of their expression by means of the language of national cinematographic schools. Furthermore, it helps to define prospective ways of interrelation between both cultures on the basis of mutual respect and understanding, which is one of today’s most difficult tasks. The analysis of themes and plots of Russian and American cinema, claiming to be problematic, reveals that religious and postreligious images are grouped around such themes as religious education, eschatology (apocalypses and postapocalypses), personalism and miracle. The irrational character of the latter corresponds to the aggravation of the contradictions of the current stage of globalization and the development of plots of world politics that entail a revision of the balance of modernization and conservatism, including the potential of religious ideologies. The article concludes about distancing the problem cinema of both countries from “frontal” ideology and immersion in the analysis of the problems of moral choice, which combines freedom and necessity in a decisive and responsible action. Such an act in the “withdrawn” form presupposes a genetic connection with the dynamic understanding of the religious image as having a powerful social charge and capable of broadcasting it to the audience. |
| Key words | philosophy of culture; religious images; postreligious images; knowledge in science, art and religion; religion and ideology in Russian and American cinema |
| Article information | |
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