In the modern socio-cultural situation of the world, there is a change in the value system, which largely determines the interpretation of past meanings in religious art. Christianity is the world's largest religion, which has its own attributes of faith, for example, such as temples. The task of building temples in the context of modern times is to interpret the idea of Christianity as such with the help of new materials, new ideas, and taking into account the modern concept of human thinking. In the era of postmodernism, a distinctive feature of society is the high segmentation of various spheres of human activity, which makes the individual necessarily participate in all these spheres of life. To realize such an opportunity, a person is forced to accelerate and even superficially participate in one or another sphere of life. The trend described above can also be traced in the religious sphere of a Christian's life. Thus, a thinking creator cannot help but have a desire, through his work of art, to return the Christian's thought to the mainstream of Christian aesthetics, which states that communication with God is comprehended through sensory cognition, through beauty and art. Religious revival is impossible without the restoration, preservation and use of cult art – the most important component of church life. The subject of this research is the study of the theological, material and index signs of the cult architectural structure "Church of Light". In the study of the "Church of Light" designed and built by the Japanese architect Tadao Ando in 1989 in Osaka, a conceptual approach will be used to take into account the modern reflection of old meanings.

The XX century showed how fragile and changeable the environment of human existence is. Transformations took place in all spheres of life, but especially interesting is the reflection of changes in art, namely in the cult architecture of Western Europe. Through the method of philosophical and art criticism analysis, which consists in a step-by-step examination of the work in its material, index and iconic aspects, the structure designed and built by the architect Le Corbusier Notre-Dame du Haut in Ronchamp was studied. Based on this method, the deep content of the work of art was revealed, many visual concepts were identified, for example, such as: embeddedness in nature, light as a sign of the Divine principle, the connection of man with the divine through the double altar of the temple, the co-presence of the principles, saving faith, transformation and transfiguration, transition, connection and (or) fusion of the principles, purification, human aspirations, the descent of the divine, the ascent of the human. In addition, during the research, the main artistic idea of the work was revealed, which was designated as the establishment of harmony. It is realized in relation to the temple and nature through the signs of water, light and in the likening of the forms of the structure to the hill. In another aspect, the establishment of harmony is manifested at a deeper level of the relationship between man and the Divine. In interaction, a person achieves inner spiritual results, going beyond himself and correlating with the Higher. In other words, harmony is established through the descent of the Divine and the reverse ascent of man into the higher space, while additionally linking earthly existence. Thus, the highlighted visual concepts clearly show how a non-religious person Le Corbusier in his creation achieves an important attitude to the world for a believer.

The article examines the reasons for the emergence of the cultural phenomenon "retrofuturism" in the 1970s-1980s of the last century as an escapist reaction to the failure of futuristic ideas about creating a progressive society based on scientific and technological progress. The analysis of the visual component of the main directions of retrofuturism: subcultures of "cyberpunk", "steampunk", "dieselpunk" in contemporary art is also carried out.

This article presents a summary of the work of the educational, scientific and methodological seminar "Theories and Practices of Applied Cultural Research" (December 08, 2022, Krasnoyarsk, Museum Center "Ploshchad Mira"), organized by the Department of Cultural Studies and Art History of the Humanitarian Institute of the Siberian Federal University, which became part I scientific-practical conference "Siberian contemporary art". The seminar was devoted to the presentation of topical art studies in accordance with memorable dates for the world of culture and art: 1) 235th anniversary of the birth of the French artist and inventor Louis Daguerre; 2) 265th anniversary of the birth of the English poet and artist William Blake; 3) 95th anniversary of the birth of the Russian director Eldar Ryazanov; 4) 390th anniversary of the birth of the Dutch artist Jan Vermeer of Delft, also during the seminar, reports were presented on the topic "The Phenomenon of Chinese Documentary Film" and "Features of the Dialogue between the Work of Art and the Spectator".

The article will consider the problem of the concept of physicality in the "spirit of the times". The time that will be discussed is commonly called modernity and post-modernity, a prominent representative of which is the artist Francis Bacon. Such a traditional problem of philosophical thought as the correlation of the human soul and body, in the interpretation of Francis Bacon, acquires a completely new discourse. Francis Bacon is an artist who thinks in philosophical categories in line with the problems of human existence as such. Human existence should arrive in an equilibrium correlation of categories: space, time and life, death. The narrative of the works of F. Bacon is the irony of human existence that breaks through pain and screaming. Through the observation of material signs - corporeality and their essence – the spiritual, Francis Bacon proposes to understand the question of the correlation of the corporeal and the spiritual, a discourse in the spirit of postmodernism. By means of the analysis of the painting "Portrait of Pope Innocent X" (etude No. 7), the concept of the corporeal as a structure is revealed, which should be perceived and understood in the context of the totality: the body as an individual, the body as an artificial construct and the body as a socio-cultural construct. Physicality as the sum of the three toposes of the body. The rejection of a stable, uniform understanding of the corporeal and the perception of its image as a stream that cannot be fixed in principle, allows us to identify the ideological program of the representative in its new senses. The ceremonial portrait of Pope Innocent X in the interpretation of Diego Velasquez is the essence of the bodily category, the portrait of Francis Bacon is the splitting of the bodily and the essence of the spiritual category. This is a discourse about a dichotomy, the basis of which is the splitting of subjectivity - the separation of the symbolic plane of corporeality from physical reality.

This text presents a summary of the work of the educational, scientific and methodological seminar "Theories and Practices of Applied Cultural Research" (October 26, 2022, Krasnoyarsk, Museum Center "Ploschad Mira"). The seminar was devoted to the presentation of topical art studies in accordance with memorable dates for the world of culture and art: 1) Compositional formulas in works of visual and audiovisual art; 2) Creation of archives as an actual form of audiovisual culture research; 3) Actual studies of cinematography: 65 years since the release of the film "The Cranes Are Flying" by M. Kalatozov, 85 years since the birth of Soviet screenwriter Gennady Shpalikov, 75 years since the birth of writer Stephen King; 4) History of publishing: 160 years since the birth of the Russian publisher Petr Petrovich Soykin.

The history of cinema uncovers not just one forgotten as unnecessary genre, whose representation of the world could not address fast-changing social, political, and ideological challenges. Because of these issues in the 80s, the Western was predicted to die, and films by C. Eastwood were being released as a farewell to the once extremely popular genre, which was considered to be one of the elements of the American culture code for a long time. However, in the XXI century, the Western is experiencing a new wave of popularity. World-renowned directors produce genre movies despite global cinema processes of genres, styles, and trends merger. The article presents a study on the reasons for the Western genre relevance preservation on the example of the film «The Power of the Dog» by Jane Campion (2021). The hypothesis of the article based on the idea that the skillful use of the genre traditions allows directors to keep the Western relevant and stay in the modern social context simultaneously. The main artistic idea of the film identified, the semiotic levels of elements revealing this idea analyzed, and the novelty of these techniques in the motion picture genre field is correlated with the reasons for the Western relevance. The result of the research is the determination of the Western genre essence in the cinematography of the XXI century from its formal as well as ideological perspective.

A book review of «Edward Hopper: A Dreamer without Illusions by the author» by Didier Ottanger presented. The book is a combination of biography, the America history situation in the period from 1910 to the 1960s and the Artist's special manner of painting. The main artistic traditions and key figures that influenced the work of Edward Hopper reflected. The artist's works interpreted in the book, mainly from the point of historiography view. In addition, the book author presents some stable, iconographic creativity features. Archetyp symbols of the emerging American identity analyzed. The structure analysis of the book, the content and the main ideas also carried out. The presence of personal letters artist noteworthy. The continuity of the artistic Edward Hopper tradition in cinema and noir genre films noted.

In a number of cases, external sources of invasive penetration into the surrounding world of a person found in the world. The problem of manipulation of human consciousness through the media, imposed ideas by opinion leaders is growing every year. A person and society are completely unaware of the extent of the invasion of their privacy. Historically, the methods of manipulation are changing from more direct and explicit to unobtrusive and hidden. This is the difficulty of recognizing methods of influencing a person. The article examines how the problem of manipulation of people's mass consciousness by means of audiovisual arts is investigated in art cinema, in particular, how the mechanisms of manipulation of people's mass consciousness are modeled in the 2008 feature film by German director D. Hansel "Experiment 2: Wave". The present study presents an analysis of possible tools and methods of influencing the personality demonstrated in film production, problems arising during the implementation of such practices and possible consequences for society and the individual. The analysis of the film uses an ideological approach in cinema, the author of which was Andre Bazin. This approach is used to study films within the framework of ideology and the attitude of interest to it. With the help of this analytical method, the most representative topics about mass manipulation are identified in D. Hansel's film production. These include description, analysis, synthesis, analogy, interpretation. As a result of the research, several main levels of influence presented by the director are highlighted: family, culture, sports, education, the criminal world. At the final stage of the research, has been carried out analysis of the methods presented by D. Hansel in his film production and the generally recognized means of manipulation studied and presented in the works of sociologists and philosophers (E. Fromm, G. Marcuse, P. Kara-Murza, etc.).