Abstract
In the article the evolution of the image of the enemy in two cinemas is examined on the material of the Soviet and North American children’s and family films of 1936–1966 years in the following areas: representations of images of a political enemy in the movie, the critics of the axiological analysis of the discourse of a hostile culture, representation of the axiological discourse of their own culture. The analysis of publications on the topic is carried out and the concepts of “children’s cinema” and “family cinema” are clarified. The article reveals various types of construction in feature films for young audience of the “hidden threat” of the Cold War period. Based on the analysis of antagonist markers, archival materials and iconographic analysis of the films, the author identifies various modifications of the image of the enemy in children’s cinema. The article records the loss of interest in clichés by the mid-1960s. However, at the same time, the phenomenon of the spy film for the young audience in the USSR is of special interest, in particular, the militaristic aspect of the image of the internal and external enemy. In addition, the author focuses on the ways of constructing the space of childhood in two cinematographies, the social and cultural context, in particular, the role of social institutions and the family, the representation of social problems in different genres of children’s film. The author reveals that the evolution of the border violation motive in children’s films is associated with the peculiarities of the foreign policy of both countries, which also characterizes the interest in the cultural heritage of other peoples, cultural codes and formulas developed in literature and popular culture.
Highlights
В статье на материале советских и североамериканских детских фильмов и фильмов для семейной аудитории 1936–1966 годов прослеживается эволюция образа врага в двух кинема‐ тографиях по следующим направлениям: репрезентации образов политического врага в кино, анализ критики аксиологического дискурса враждебной культуры, репрезентации аксиоло‐ гического дискурса собственной культуры
In the article the evolution of the image of the enemy in two cinemas is examined on the material of the Soviet and North American children’s and family films of 1936–1966 years in the following areas: representations of images of a political enemy in the movie, the critics of the axiological analysis of the discourse of a hostile culture, representa‐ tion of the axiological discourse of their own culture
At the same time, the phenomenon of the spy film for the young audience in the USSR is of special interest, in particular, the militaristic aspect of the image of the internal and external enemy
Summary
Американский беби-бум и советский пионерский лагерь: враги и «скрытая угроза» в детском кино СССР и США 1930–1960-х. В статье на материале советских и североамериканских детских фильмов и фильмов для семейной аудитории 1936–1966 годов прослеживается эволюция образа врага в двух кинема‐ тографиях по следующим направлениям: репрезентации образов политического врага в кино, анализ критики аксиологического дискурса враждебной культуры, репрезентации аксиоло‐ гического дискурса собственной культуры. In the article the evolution of the image of the enemy in two cinemas is examined on the material of the Soviet and North American children’s and family films of 1936–1966 years in the following areas: representations of images of a political enemy in the movie, the critics of the axiological analysis of the discourse of a hostile culture, representa‐ tion of the axiological discourse of their own culture. В последние годы наметился всплеск интереса российских исследователей к теме конструирования образа ребенка в кино, особенностям репрезентации семьи в кинопропаганде СССР и США [4; 5; 30], цензурной регламентации детства в кинема ‐ тографе США [17]. Анализ источников и степени изученности пробле‐ мы определили цель и круг задач данной статьи — синхронно изучить процессы формирования и эволюции образа врага в двух кинематографиях по следующим направлениям: репрезентации образов политического врага в кино, анализ репрезентации критики аксиологического дискурса враждебной культуры, анализ репрезентации аксиологического дискурса собственной культуры
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
