Myth As Form To Preserve Historical Memory In Cinema-Text

Abstract

The semiotic content of modern visual culture is a form of worldview, a part of historical memory, a form of social adaptation helping to interpret the historical content in evolution of civilization. Myth as one means of civilization identity serves as significatum in the history of nation, historical memory, and social identification. An important part in self-identification is the visual entropy of the surrounding world. The semiotic phenomenon of historical memory is a key to visual types of 20th century art. The visual semiotics of the cinematic language has specific principles. These principles are different, for example, from the visual language of stage images. The basic principle of organizing the visual space in a film-text is not contemplation, but the presence, immersion into the space of the image. The transition to the visual type of culture suggests the emergence into recipient’s mind some mechanism to a visual artistic text perception as real. Transferring the ways on how the world is perceived and seen in the sphere of visualization not as an artistically rethought reality of a historical event. The historical text cannot be transformed into an artistic text without subordination to the laws of typification, semiotic generalization. In this case, an invariant of historical reality arises in the film text as an alternative historical situation. Mythologization acts in this sense as a way of structuring the world in which a person exists as part of it; he is a participant being interested in creating an alternative world.