UDC 654.1 + 008 + 7
DOI: 10.30628/1994-9529-2022-18.2-93-113
EDN: DPDATH
ANASTASIA V. LIKHOVTSEVA
Association of Art Critics,
Room 417, Sivtsev Vrazhek per., 43, 119002, Moscow, Russia
ResearcherID GLT-8266-2022
ORCID: 0000-0003-0052-3808
e-mail: likhovtsev@yandex.ru
VLADISLAV V. ANANISHNEV
GITR Film and Television School,
Khoroshevskoe sh., 32А, 125284, Moscow, Russia;
Moscow Business Initiatives Cluster,
4th Parkovaya, 29, 105043, Moscow, Russia
ResearcherID K-4999-2013
ORCID: 0000-0002-0538-7473
e-mail: ananishnev@yandex.ru
MIKHAIL A. PRONIN
Institute of Philosophy of the Russian Academy of Sciences,
Goncharnaya, 12, str. 1, 109240, Moscow, Russia
ResearcherID V-1730-2018
ORCID: 0000-0003-0594-6500
e-mail: pronin@iph.ras.ru
For citation
Likhovtseva, A.V., Ananishnev, V.V., & Pronin, M.A. (2022). Film Hero—Past, Present, and Future: A Multidimensional Image. Nauka Televidenya—The Art and Science of Television, 18 (2), 91–113. https://doi.org/10.30628/1994-9529-2022-18.2-93-113, EDN: DPDATH
Film Hero—Past, Present, and Future: A Multidimensional Image
Abstract. In the article, we consider the image of a movie hero from the perspective of its multidimensionality, as well as the systemic nature of its influence—in the past and in the present. The researched segment of material allows us to present the universal matrices, according to which the image of the hero of the future is constructed. Different stages and epochs of civilizations in various cultures are marked by seminal, iconic ideals, many of which represented and/or personified the status of a hero. The image of a hero has been interpreted in all sorts of ways and transformed through a variety of forms of visualizations. In this paper, we consider a hero in the context of understanding the specificity of a film hero.
The image of a “hero of the day” consolidates and refracts a complex of ideals, preferences and perceptions, the model and style of behavior, which are characteristic not only for a particular historical period, but also for a particular community. The phenomenon and concept of a hero and, as a consequence, the image of this hero, has a logically explainable structure, a pattern of formation and becoming. This pattern is interconnected with historical, social, cultural aspects and phenomena, as well as perceptions characteristic for a particular time and society. The character, the image, the style and the model of behavior of the hero, as well as the criteria of his or her assessment depend on the complex of spiritual culture of a particular community, the level of its development and value orientations. The specifics of age-old composition of the images of “a hero of the old/present days” reveal some regularities—universal anthropological constants, allowing to form a set of distinctive qualities of a hero actual for the specific time and location. In this article, we trace such consistent patterns and introduce the typology of four universal atemporal types of heroes (masculine, intellectual, warrior, superhuman), aimed at different audiences.
Keywords: culture, art, mass culture, hero, film hero, myth, totem, idol, actionism, happening, happiness, physiology, psychology, alamys, Yan V. Chesnov, interdisciplinary, philosophy, image, television, cinema, virtualistics