Abstract
The article discusses ways of representing the normative provisions of Christian theology in modern cinema. It is shown that the use of cinematic language for the symbolic display of church dogma does not contradict the Christian tradition, the entire history of which is filled with the search for symbolic means of expressing the gospel kerygma and church dogma. The historically established dominance of philosophical means of representing church dogmas prevents us from seeing this. However, it is hard not to notice that fine and performing arts (of course, in the archaic and medieval sense of them) have always played a significant role in the religious life of Christians. The advent of cinema gave Christian thinkers and artists additional means to interpret theological norms. It should be noted at the same time that the influence of Christian meanings on European culture is so great that the authors of a number of cinematic masterpieces do not necessarily broadcast these meanings intentionally. The review of foreign and domestic cinematography reveals the main themes of Christian teaching, which filmmakers most often turn to: providenciology, soteriology, Christology, and triadology. At the same time, the genre range of Christian and crypto-Christian cinema is quite wide, ranging from realistic dramas to fantasy films. Scriptwriters and directors show extraordinary ingenuity in visualizing the supersensible: divine providence, the co-presence of the divine and human natures in the Person of the Savior, and the Persons of the Divine Trinity. Although it must be admitted that not always their artistic interpretations remain within the framework of the dogmatic norm, it is important to note that the secrets of the success of many cinematic techniques are contained in the practice of church art, in particular in the canonical Orthodox iconography.
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