Issue 35 (2019, 3) Summary

ARTICULT #34 (2-2019) April-June

SUMMARY

THEORY OF ART

GENERATIVE ANTHROPOLOGY AND GENERATIVE ART: UNPREDICTABILITY AND UNPARTICIPATION IN THE POST-MILLENNIARISM AS POST-POSTMODERN
UDC 7.01
Author: Zahurska Nataliia Vitalevna, Doctor of Science (Philosophy), Assistance Professor, Professor of the Theoretical and Practical Philosophy Department named after the professor J.B. Schad of School of Philosophy at the V.N. Karazin Kharkiv National University (room 293, 6 Svobody sq., V. N. Karazin Kharkiv National University, Kharkiv, 61077, Ukraine), e-mail: zagurskaya@karazin.ua
ORCID ID: 0000-0001-5142-8064
Summary: In this article traversals of generative anthropology and generative art are researched in the context of post-postmodern, and, in particular, post-millennialism. The crucial notion of generative anthropology as an attractive object suggested the approval that effected in post-millennialism being regarded an object-oriented ontology. In both cases an attractive object is deconstructively performated, which causes it to become unpredictibile and in relation with this a subject unparticipates in original event such as a generative art performance. Thus, love in anthropological sense prevails over sexuality with resentment that is immanently inherent to it and which, therefore, allows it to overcome modern cruelty as well as postmodern victimity. In this regard, generative art’s algorithmized simplicity and minimalicity reveal themselves in generative anthropology by returning to their origin.
Keywords: generative anthropology, attractive object, generative art, unpredictibility, unparticipation, performatism, minimalicity

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HISTORY OF ART

THE BOOK OF THE PROPHET EZECHIEL IN THE ICONOGRAPHIC PROGRAM OF FRESCO CYCLE IN THE CHURCH OF ST. MARY AND ST. CLEMENT IN SCHWARZRHEINDORF
UDC 7.033.4(430)+7.04+726.5
Author: Khripkova Elena Avenirovna, Ph.d. in Art Studies, associate professor, Chair of the theory and history of art, Russian State University for the Humanities (6, Miusskaya Square, Moscow, Russia, GSP-3, 125993), e-mail: elenasamary@gmail.com
ORCID ID: 0000-0002-8101-680X
Summary: This article is devoted to the study of the iconographic program of the wall-paintings decoration of the church of St. Mary and St. Clement in Schwarzrheindorf, built in the middle of the XII century. In this paper, the author analyzes the iconographic program of the lower church, emphasizing the difference in the order of representation of scenes in the text of the prophet Ezekiel and in the program of the temple. The scheme obtained as a result of the analysis shows that the composition of the Old Testament scenes in the vault of the lower church is subordinated to the spiral movement, which can be traced both in the center of the cross, around the central octagon, and in the compartments adjacent to it. The comparison of the source text with images series allows us to correct the scheme for the development of the program. The program of the church in Schwarzrheindorf is an important monument of the Romanesque wall-paintings of Germany.
Keywords: church of St. Mary and St. Clement in Schwarzrheindorf, Arnold von Wied, iconographic program, Book of the Prophet Ezechiel, wall-paintings decoration

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COMPLEX OF BAYAZID II IN EDIRNE: WAITING FOR THE “GREAT STYLE” OF OTTOMAN ARCHITECTURE
UDC 7.033.39
Author: Kononenko Evgenii Ivanovich, PhD in Art Studies, Head of Department of Asian and African Art of the State Institute of Art Studies (5 Kozitsky pereulok, Moscow, Russia, 125000), e-mail: J_kononenko@inbox.ru
ORCID ID: 0000-0003-4579-8653
Summary: The monuments of the turn of the 15th–16th centuries are already defined in the historiography of Ottoman architecture as “prelude to grand manner”, however, the meaning of this term was not disclosed, and the attention of researchers turned to be concentrated on the Bayazidiye Mosque in Istanbul (1500–1506). Meanwhile, the earlier (1484–1488) hospital complex of Bayazid II near the Thracian town of Edirne demonstrates the consolidation of a number of program innovations achieved in Istanbul monuments and the dissemination of metropolitan planning techniques and architectural composition to the provinces. It is this monument, which has not yet been analyzed in the domestic literature, for more than a quarter of a century predetermined the composition of buildings erected under the sultan’s patronage and largely determined the image of the “Great Ottoman mosque” developed by Sinan in the middle of the 16th century.
Keywords: “great style”, Ottoman architecture, kulliye, Bayazid II, Edirne, architectural composition, “Great Ottoman Mosque”

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PIERRE-JEAN MARIETTE. THE CONNOISSEUR AND ART PATRON IN THE 18TH-CENTURY EUROPEAN ARTISTIC MILIEU
UDC 7.072
Author: Agratina Elena Evgen’evna, Ph.D in Art Studies, Associate Professor (Ballet Theory and History Department) in the Moscow State Ballet Academy (2nd Frunzenskaya Street, 5, Moscow, Russia, 119146), e-mail: agratina_elena@mail.ru
ORCID ID: 0000-0001-9842-0967
Summary: The community of connoisseurs and art patrons played an important role in the 18th-century European culture. The connoisseurs kept in personal contact with artists and were able to appreciate their work acutely. Also, the connoisseurs were engaged in collecting precious pieces of fine art, wrote, and published treatises on history and theory of art making progress in methods of art investigation. One of the most considerable persons among connoisseurs no doubt was Pierre-Jean Mariette (1695-1774), an engraver and a prolific writer on fine art. The article examines his life, activities, and personality for the first time in Russian. The case of Mariette exemplifies how an 18th-century connoisseur of fine art could promote art theory and contribute to the strengthening of international cultural relations.
Keywords: the 18th-century art, history of science, art criticism, art theory, Pierre-Jean Mariette

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CONTINUITY AND DIVIDE IN THE 20-TH CENTURY ESTONIAN PAINTING
UDC 7.036(4)
Author: Batyrshina Olga Faridtovna, Master in Art Studies, Lecturer and tour guide, Walking Through Berlin (23 Am Postbahnhof, Berlin, 10243), e-mail: olga.batyrshina.de@gmail.com
ORCID ID: 0000-0003-2338-6228
Summary: An article provides insight into the main features of the Estonian 20-th century painting growth. The mention of the role of A. Laikmaa and K. Raud as the chairmen of national painting school is revealed. Sustainability of Tartu as of the center for essential art education is shown as well as for Tallinn where primarily applied art techniques were sustained. The reported study was funded by RFBR according to the research project №18-312-00017. The article elaborate the key elements of the report submitted on “The Science Spring-2018” Forum, Moscow, April 2018th.
Keywords: painting, Еstonia, modernism, avant-garde, cubism, baltic, XX century

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CONTEMPORARY ART

APOLOGY OF FREEDOM IN THE CORRESPONDENCE OF ARTISTS WITH THE “A-Ya” MAGAZINE
UDC 7.011.3
Author: Zhitenev Alexander Anatolievich, Dr. Habil. in philology, associate professor, Department of Russian Literature of XX–XXI Centuries, Theory of Literature and Folklore, Voronezh State University (10, Lenin Square, Voronezh, Russia, 394042), e-mail: superbia@mail.ru
ORCID ID: 0000-0002-6365-4138
Summary: The beginning of the 21st century coincided with the introduction of new facts related to the history of Soviet nonconformism into the scholarly discourse. The two-volume correspondence of artists with the “A-Ya” magazine published in 2019 is an important document of the era that allows not only to clarify the history of the first magazine about the “other art” but also describe its aesthetic agenda more clearly. The aim of the article is to charaterise the system of values that was developed in the artists' discussion and forms the basis of the editorial policy of the “A-Я” magazine. Using a large body of texts as a starting point, the article describes the range of associations codified in the concepts of “freedom”, “emigration”, “self-realisation”, etc. As was found in the article, the interpretation of the category “new” is of particular importance in this chain of concepts. Contrary to the traditions of modernism and avant-garde, novelty, at the turn of the 1970s-1980s, is not viewed as the most important quality of a work of art that directly determines the degree of its value. The novelty of an idea and the novelty of a technique are equally derivative in a situation where artistic culture is developing in many directions at once. The correspondence associated with the “A-Ya” magazine allows us to establish a direct link between the aesthetic pluralism of the magazine and the rejection of the absolutisation of novelty common to the aesthetic theory of the 20th century, with the development of an “apophatic” attitude to art.
Keywords: unofficial art, art magazine, aesthetic values, newness, “A-Ya” magazine

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VISUAL ARTS

CONDITIONALLY MOTIVATED MUSIC IN THE STRUCTURE OF A POLISEMANTIC FILM IMAGE
UDC 791.43.01
Author: Rusinova Elena Anatolyevna, PhD in Art Studies, Associate professor, Vice-Rector for International Relations and Scientific Work, Head of the Department of Film Sound Direction of the All-Russian State Institute of Cinematography of S.A. Gerasimov (3 Wilhelm Peack St., Moscow, Russia, 129226), e-mail: vgik.science@gmail.com
ORCID ID: 0000-0002-2270-7758
Summary: The film music as an essential element of not only the soundtrack of the film, but also its audio-visual structure is a current subject of modern interdisciplinary research. The article discusses the important aspects of synchronic and diachronic interactions of motivated and unmotivated film music. The article discusses the important aspects of synchronic and diachronic interactions of motivated and unmotivated film music. Based on the established parameters of these relations, the concept of conditionally motivated music is introduced, and more broadly, conditionally motivated sound. Conditionally motivated sound not only helps in creating a polysemantic artistic image in the film, as if “pushing” the scope of the plot motivation, but it can also say a lot about director aesthetics, especially when it comes to author's cinema. Based on the analysis of some representative examples from domestic and foreign cinema, ways of creating a polysemantic film image are presented, and artistic tasks that can be solved by applying this technique in the film’s sound solution are systematized.
Keywords: film music, film sound solution, conditionally motivated film sound, film image, author cinema

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CINEMA

ANTI-RELIGIOUS MOVIES IN SOVIET PROPAGANDA IN 1920-S
UDC 791.43.05:008
Author: Karliavina Anna Ivanovna, graduate student of historical faculty of Lomonosov Moscow State University (1, Leninskie gory, Moscow, Russia, 119991) е-mail: effy754@gmail.com
ORCID ID: 0000-0002-4417-3160
Summury: The role of the soviet documentary and playing movies during the first ten years atrer the revolution is researched in this article. In early 1920-s anti-religious movies were the important part of soviet anti-religious propaganda. Cinema was the most clear and illustrative form of art. The anti-religious movies was masterfully used by bol’sheviks in anti-religious propaganda. The subjects of the anti-religious movies and cultural motives for them are referred in the article.
Keywords: anti-religious propaganda, anti-religious movies, Russian Orthodox Church, religion, propaganda, cinema

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WHEN DID THE CINEMA GO SOUND?
UDC 791.43.01+791.44
Author: Filippov Sergei Alexandrovich, Ph.D. in Art Studies, researcher at the Faculty of Journalism, Lomonosov Moscow State University (9 Mokhovaya street, Moscow, Russia, 125009), e-mail: s_a_filippov@mail.ru
ORCID ID: 0000-0001-6032-6641
Summary: In the first paper of a series of articles on the dating of technical transitions in cinema, a general methodology and transition to sound are discussed. In film studies, there is no system of criteria for such dating, and of the available options, the most indicative seems the transition through the middle, when most films and movie theaters begin to conform with a new state. Thus, in the case of cinema, technical transitions usually fall into two: the transition of film production and the transition of film exhibition. On the assumption of the statistics collected on IMDB, the transition of world film production to sound occurred in 1930, the American one was a year earlier. According to available statistics, the transition of the North American film screening took place in 1931, European and the world-wide in 1932, the Far-Eastern in 1933, Latin American in 1935. Thus, the cinema really went to sound only in the thirties.
Keywords: film studies, film history, cinemetrics, sound revolution, historical film exhibition statistics, historical film production statistics

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WHAT WAS WALTER WHITE AFRAID OF? DRAMA CONFLICT AND MOTIVATIONS OF THE “BREAKING BAD” SERIES
UDC 791.43-2
Author-1: Parkhomenko Iana Aleksandrovna, Ph. D. in Art Studies, Professor of the Department of Screen Arts, Academy of Media Industry (105, bldg.2 Oktyabrskaya str., Moscow, Russia, 1275210), e-mail: ivanna2001@yandex.ru
ORCID ID: 0000-0002-1916-3593
Author-2: Kononov Igor Viktorovich, post-graduate student of the Department of Screen Arts, Academy of Media Industry (105, bldg.2 Oktyabrskaya str., Moscow, Russia, 1275210), teacher of the Moscow International Film School Film College №40 (44, Schabolovka str., Moscow, Russia, 115419), e-mail: i.v.obukhov@gmail.com
ORCID ID: 0000-0002-8678-4381
Summary: The article focuses on the problem of the series' central conflict with severely pronounced psychological transformation of the main character. The analysis of the “Breaking Bad” reveals the inner works of the main conflict's formation, development and resolution in the context of psychoanalytic discussion. The deconstruction of the screen events, with due regard to the discovered connotations, makes it possible to identify the multi-layered narrative structure of the series and the dramatical methods of the screen action and to analyse the motivations behind the main characters' actions, which in turn allows to establish the narrative model of the psychological thriller and determine the thematic boundaries of the genre. The proposed model of the main conflict's analysis contributes to the further development of the categorical apparatus of the genre and may serve as a testing tool of the screen product's development stage. The convergence of the theories and the practices of the important scientists in the field of psychology, such as Freud, Z., Adler, A., Erickson, E., Bern, E. and the fundamental principles of the drama theory reveals new plot modeling methods, thus forming the dramatist's set of constructive tools.
Keywords: conflict, series, thriller, narrative, discourse, screen product, hero, deconstruction, psychoanalysis, identity, inferiority complex

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VARIETY OF PROBLEMATIZING CINEMA IDENTITY IN RUSSIAN FILM STUDIES
UDC 791.43.01
Author-1: Kolotaev Vladimir Alekseevich, Dr.Habil. in philology, full professor, dean of the Faculty of the History of Art, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, 125993), e-mail: vakolotaev@gmail.com
ORCID ID: 0000-0002-7190-5726
Author-2: Markov Alexander Viktorovich, Dr.Habil. in philology, full professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, 125993), e-mail: markovius@gmail.com
ORCID ID: 0000-0001-6874-1073
Summary: The development of the concept of «cinema identity» required a certain interpretation of screen arts at the same time as a medium of narration and a medium of experience. Russian film identity research explores specifics of screen art, pointing out such key principles as nonlinearity of time, increased expressiveness of detail, illusion of evidence, the re-arrangement of the plot, and the redistribution of responsibility for it between the characters, the specifics of the director’s vision. Thus, the cinema is classified as a contemporary art, specifying not only its subjects, but also environmental and situative aspects. In the course of the development of identity research in Russian cinema science were clarified certain effects of the screen and the relationship between ideology, development of acts, and composition including expressive side of film narration. Comparative analysis of relevant publications and of accidental discussions of approaches proves that study of film works for better understanding of a number of categories of film analysis.
Keywords: psychology of cinema, identity, history of Russian cinema, film analysis, cinema identity

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HISTORY AND THEORY OF CULTURE

A FASHION MODEL’S BODY AS REDUCIBLE TO SIMULACRUM IN “THE NEON DEMON” FILM
UDC 791.43.04
Author: Vetrov Dmitrii Nikolaevich, postgraduate student at GITR Film & Television school (32a, Horoshevskoe sh., Moscow, Russia, 123007), lecturer at Department of Communications Technology, Institute of International Relations and Social and Political Sciences, Moscow State University of Linguistics (38 Ostojenka st., Moscow, Russia, 119034), e-mail: vetrov.interprete@mail.ru
ORCID ID: 0000-0001-5008-559X
Summary: The article aims at analysing the dehumanization of a woman’s body by reducing it to a simulacrum order. Through the unconventional camera work, Nicolas W. Refn creates a filmic reality, engaged in fashion business narrative, in which is placed a fashion model whose body, by being involved in the order of symbolic exchange, is subject to a dehumanizing objectivizing through its dissolving in mediality. Postulated is thus that the main character cannot be perceived as but simulacrum in view of the referent’s absence. To back the suggestion, provided are films and literary works, including those in cultural studies, referring precedents and various examples of narratives in which a woman’s body is dehumanized through cultural conventions of the visual.
Keywords: dehumanization, media, mind-game film, mirror, non-assigned POV, reverse angle shot, simulacrum

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