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Mekhonoshin V.U. [Myth in the screen culture of the «nineties» and «zero»] World of Science. Series: Sociology, Philology, Cultural Studies, 2021, Vol. 12, No. 1. Available at: https://sfk-mn.ru/PDF/18KLSK121.pdf (in Russian).

Myth in the screen culture of the «nineties» and «zero»

Mekhonoshin Vasilii Urevich
European university at Saint Petersburg, Saint Petersburg, Russia
E-mail: jamesholt87@gmail.com
ORCID: https://orcid.org/0000-0002-0452-9345
РИНЦ: https://www.elibrary.ru/author_profile.asp?id=766206

Abstract. In modern screen culture, there are two differently directed movements within the framework of myth-making: for authorship (aimed at creating a myth through narration) and the influence of the state (leading to the processes of remythologization), which lead to the emergence of a “hero of the generation”: he is contextual, has no equivalents, acts morally – an aesthetic guideline, the demand for freedom is not enough for him, he needs morality, therefore this hero seeks to manifest freedom and its strength. The author concludes that the myth in culture is closely connected with the high role of the author and with the high role of the state in culture. The conclusion is made about the dependence of the process of myth-making on these two cultural phenomena. In contrast to a strongly mythologized culture, the author singles out a non-mythologized one, the most important element of which is its formation and development in the course of its use, or rather, as a result of the formation of a new communicative situation between the viewer and the screen. The author notes that at the center of the non-mythologized screen culture is a new artistic image vividly represented in screen culture in the “nineties” and “zero” years of the 21st century. The author comes to the conclusion about the emergence of a new synchronic type in myth-making, when not only new movie characters appeared, but also a return to the old, which became cultural phenomena of the era long before the “nineties”. In the «nineties» and «zero» they manifested themselves vividly thanks to the use of special artistic means aimed at communicating with the public and frequently changing actualization of the heroes’ actions (for example, revising their motivations in different films). According to the author, it was the attempt to reflect the state of cultural trauma and its aggravation through a return to the replication of the myths of Soviet ideology that manifested itself in the alienation of authors from their masterpieces, the distance of the authors of festival masterpieces from popular culture and the emerging new television reality.

Keywords: myth; screen; artistic image; remythologization; audiovisual communication; youth television; glocalization; Another

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