Introduction. Observing the production and consumer area of modern cinematography makes it possible to draw conclusions about the value dominants of modern society, to conduct its sociocultural analysis. Cinema, both auteur and mass, is a way of reflecting and modeling the society spiritual state and its analysis makes it possible to draw quite serious and justified philosophical and social conclusions. The film in a philosophical sense is ontologized by the dominant intention of the era. Such a dominant intention of modernity (...) is hedonism. Pleasure, enjoyment, happiness, according to the humanities, is the basic values of the 21st century society. Cinema is the most comprehensive reaction to the needs of hedonism, since hedonistic prerequisites are to some degree laid down in its technical (movement, photographic phenomenology) and social nature (art and entertainment). In this regard, it seems relevant to conduct a philosophical analysis of the ontological level of modern cinema. The aim of the study is to conduct a philosophical analysis of the ontological level of modern cinema; identify ontological models, variations and combinations of which provide its artistic diversity. Methods: the authors use the general scientific methods of analysis and synthesis, the phenomenological method, since they identify the sensory intentions that underlie modern cinema. The authors also use the hermeneutic method, since they reveal the hidden meanings of the film, determined by the time and conditions of its creation, as well as the semiotic approach, which makes it possible to analyze the structural-semiotic whole of the film. The scientific novelty of the study lies in the fact that the authors analyze films from philosophical aspects, and not just cultural studies, as is customary. In modern cinema, the authors look for a reflection of the “social soul”, identify those intentions that underlie modern cinema, both auteur and mass. This makes it possible to deduce a typology of film models that have not previously been applied to the analysis of the film process. Results. During the analysis, the authors developed a hedonistic-ontological typology of cinematic models, identified five generative models of cinema, four of which have a hedonistic orientation: an alimentary model that pleases the recipient by intensively stimulating his perceptual sphere; a parkour model that gives pleasure to light and unhindered movement, minimizing the severity and resistance of the environment; an arcade model that provides the viewer the pleasure of victory through virtual immersion in the ups and downs of the “action film”; a detective model that gives the viewer pleasure through the removal of cognitive uncertainty. The fifth model, tentatively called existential, should lead the viewer into a complex philosophical state of being-with-self-self, an experience of one’s own fulfillment, associated with the experience of suffering. However, due to the hedonistic orientations of modern culture, this model is not relevant in the first decades of the 21st century. Conclusions. Philosophical analysis of modern cinema has revealed that at the ontological level it is based on the philosophy of hedonism. Modern cinema delivers the following types of pleasures to the recipient: enjoyment of the flesh of the world, enjoyment of bodily freedom in motion, enjoyment of peace, cognitive enjoyment. (shrink)

The article discusses the results of studying the value sphere of the digital generation. The author sets herself the goal of studying the meaningful life guidelines of the digital generation representatives. The author uses the results of students’ surveys of two Chelyabinsk universities for the humanities as a basis for the research. The author uses general scientific methods of analysis and synthesis, empirical methods of observation and questioning. As a result of analyzing the survey data and understanding the activity of (...) young people in social communities, the author comes to the conclusion that material security, freedom, self-expression, and love should be considered as the main values of the digital generation. The meaning-of-life guidelines of the digital generation are more consistent with the values of hedonist philosophers (pursuit of pleasure) and stoics (acceptance of life circumstances). The scientific novelty of the work lies in identifying the features of the value sphere of the digital generation. In the value aspect, the digital generation prioritizes education, career, selfdevelopment, travel and enjoyment of life. It has a focus on individualism, self-presentation in the process of virtual communication. A significant method of self-expression for the digital generation is the vestimentary way of revealing individuality. The digital generation is fully immersed in network communication. Virtual communication makes it possible to quickly exchange information, learn new ways to earn money through Internet technologies, but can lead to distortion of information, relativism in judgments and social deprivation. (shrink)

Introduction. The intensity of the visual media influence in the format of films and TV series on cultural life, reaching its peak in the era of streaming television, poses the task for the humanities to study the visual type of thinking, visual consciousness, which is different from the classical visualization of verbal thinking in the plastic arts. If a researcher intends to derive from a film or TV series, a value system, a cognitive strategy that is relevant for its time, (...) the visual environment may turn out to be no less eloquent for him than the dramatic action taking place in it. The character and quality of this environment are made up of many sensory elements: light, color, movement and its choreography, sound, space, subject referents, etc. Taken together, they represent not so much an articulation of the author’s thought, but a way of specifically visually thinking through this thought. The complex structure of visual-mental environments requires extensive and systematic research work. In this article we take one of the most obvious substantive aspects of the visible: the vestimental strategy of the film. The purpose of the article is to identify patterns marked by subject (vestimentary) characteristics that are redundant in relation to the dramatic action by comparing the visual environments of films from different decades of the 20th century; using the code of cultural universals that assign the function of sociocultural and ethical regulation to the concept of “clothing” [1; 3; 5; 10; 15], to identify the meaning of these patterns in the context of the ethical thinking of the era. Methods. During the study, the authors use general scientific methods of analysis and synthesis; the method of phenomenological reduction, which makes it possible to record the sensory qualities of object-spatial screen environments; a hermeneutical method that allows, on the basis of visible sign structures, to identify the essential intentions of a visual image. In view of the task, it turned out to be necessary to involve some concepts of narratology (in particular, the concept of focalization) and methods of corpus analysis adopted in linguistics. The scientific novelty lies in the fact that we approach the visual source from a philosophical and cultural perspective, considering the visual environment of the film as a form and method of actual sociocultural or philosophical thinking, which has specific (visual) tools. This approach allows us to draw conclusions based not only on individual films, but also on large source databases. Results. During the analysis, the authors applied the tools of modern visual studies and the conceptual basis of socio-philosophical ethics to cinematic texts of the 20th century. This made it possible to discover visual patterns common to films of some decades of the 20th century, namely: the 1930s, 1950s, 1990s, and connect them with the ethical issues of time. Conclusions. Analysis of source databases that include cinematic texts can be carried out through a systematic analysis of the visual environments presented on the screen. At the same time, dominant visual patterns characteristic of a particular era can be identified and described. Such a dominant determines the emphasis in the figurative whole and reveals important aspects of philosophical and cultural thought relevant for its time, including ethical thought. (shrink)

Introduction. The problem of the “female issue in art” is one of the most pressing today. “Gender art” or “female art” is one of the trends in modern art exhibitions. Thanks to art feminism, today women artists can fully demonstrate their talent, which arouses great interest in their work from the world art community. The purpose of the article is to identify specific stylistic features characteristic of “female subjectivity” and feminist practices in the art of the second half of the (...) twentieth century. Methods: we used general scientific methods of analysis and synthesis, the phenomenological method, since we identify the existential intentions that underlie modern art. We also use the hermeneutic method as we uncover hidden meanings in the works of women artists. The scientific novelty lies in the fact that we identify and describe specific stylistic features characteristic of the work of women artists of the second half of the twentieth century, which has not been done before. Results. We conducted a philosophical and cultural analysis of the works of women artists: Berthe Morisot, Hannah Höch, Frida Kahlo, Alice Neel, Louise Bourgeois, Sarah Lucas, and identified common features characteristic of their work. We also conducted a philosophical and cultural analysis of art feminism as a phenomenon. Conclusions. Among the stylistic features that unite the work of women artists of the second half of the twentieth century, we have identified the following: appeal to purely female handicraft techniques (“fiber art”); the subject of art is the inner world of the artist’s own feelings and experiences; art is often considered as a kind of art therapy, a way to survive the traumas suffered; a female artist has more empathy for the model and her mental state than male artists; women artists are characterized by a rethinking of the attitude towards the body, an image of the body as unaestheticized, non-normative, unadorned, irony towards the body; for women artists, art often becomes a way to fight for their rights, gender and racial equality. (shrink)