Myth and cinema: experience of Russian language theoretical reflection of the turn of the XXXXI centuries

Dyatko Alyona Igorevna

The target of research is the myth as one of the components of cinema language and value orientations. The article is dedicated to the comprehension of the Russian experience of theoretical reflection of the last turn of the century about the mythological component of cinematography. The Operational Definition of myth and its functionality has been developed on the basis of the analysis of several options for the interpretation of myth in philosophical and cultural researches. A deeper understanding of the internal changes in the mechanisms of the myth when used in cinema is realized by addressing the legacy of the world cinema classics, such as J. Cocteau, A. Tarkovsky and others. Domestic researches on the use of myth in cinema of the 1990s and 2000s were chosen as an object for analysis because of the actualization of the myth in crisis times, as one of the ways to restore the lost ontological foundations of identity. The purpose of this article is to try to explain how native researchers consider mythological involvement in cinema, being in the conditions of forming a new model of social structure. Comparative and hermeneutic approaches have been used to achieve this purpose. They are taken as a foundation for distinguishing methodological variations of research approaches of the turn of the century. The relevance of this article is due, firstly, to the lack of generalization of theoretical reflection in recent years on the importance of the myth in cinema in Russia, and secondly, to the huge popularity of the myth currently among filmmakers, with the apparent ambiguity of its interpretations. The article postulates the reorientation of transitional era cinematography from screening myths and using them as an ideological tool to existential and ethnosocial problems in order to create an image of "universal reality". Conclusion: The need to further explore the theoretical legacy of the myth in cinema.

Keywords:transitional era, myth, Russian cinema, crisis, New wave, theoretical reflection, ethnomiphology, aestheticization, ideology, screening.