What type of thinking is formed by screen culture. Interaction of screen, computer, Internet cultures

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Many believe that the future belongs to the "screen culture". But it should be noted that if this culture becomes widespread in society, it will become "mass". This confirms the fact that its existence in the 20th century. inevitable and predictable. Even in our country Mass culture"is reflected not only in fiction and TV production, but also in the design of their own homes, the choice of clothes, household appliances, brand of car, even the breed of a domestic dog.

Elements of screen culture can be found in time immemorial,

at the dawn of mankind, when a primitive savage, placing his hand or some object in the space between the light source (cave entrance, fire) and the cave wall, received on it, as on a screen, a motionless or moving image. For thousands of years, elements of screen culture have been present in shadow theater. But the true flowering of screen culture was manifested in late XIX century, when in 1895 in France the Lumiere brothers invented a film projector and created "nickel oldeons" - the first cinemas.

Thus, screen culture- this is a culture whose main carrier of texts is not writing, as before, but a screen, a monitor. And in this sense, screen culture is a logical, natural stage in the development of book, written culture, since the screen (computer) page is a revived, voiced book page.

Screen culture

based on a system of screen images and screen speech. They combine action, spoken language, animation modeling, written texts and many other elements. It is quite natural that the content of screen culture includes a wide variety of forms related to cinema, television and computers.

Modern computer

differs from other means of information transmission in that it is able to present data in various ways - in the form of sound, images, text, tables, etc. The computer performs interactive interaction with the user, who acts as an active subject. It is quite natural that in this case the computer can, to a greater extent than any other media, satisfy the individual needs of the viewer . In particular, the computer can perform all the functions of showing the movie selected by the user over the Internet. In this case, the computer screen turns into a movie screen.

More and more applications are special kind computer technology, called multimedia, which combines both traditional statistical visual information (text, graphics) and the presentation of cultural artifacts in a dynamic form (speech, music, video fragments, animation, etc.).

The user becomes both a reader, a listener and a viewer at the same time,

which enhances the emotional impact on the person.

Multimedia tools are actively included in the entertainment industry, in the practice of information institutions, museums, and libraries. Multimedia programs are used in the learning process. Similar training program foreign language makes it possible to accompany the words written on the display with the correct pronunciation. At the same time, the computer, acting as a teacher, can reproduce the text and its voice accompaniment as many times as necessary for memorization.

The development and functioning of television is more and more organically connected with the world of computers. Everything goes to the time when the computer will replace the movie camera and TV.

Computer culture dialectically includes all the positive aspects of the previous stages in the development of screen culture. However, unlike cinema and television, the computer makes it possible to greatly, within the World Wide Web, increase the degree of freedom of choice of information, provides global intercommunication and takes into account individual user requests to the maximum extent. Development " Email” allows the user to enter into direct contact with people of interest to him, to participate in teleconferences.

Screen culture in the process of its development is increasingly adapting to meet the needs of consumers of this culture, to take into account their interests. The freedom to choose the representation of certain cultural phenomena increases with the development of screen culture.

Screen culture is a new information environment, a new culture information society where the main value is not material goods, but spiritual factors, information and knowledge. That is why this new environment human habitat is called the information society. In this society, screen culture functions against the general background of information culture.

Aiylgy group,
magazine "Sacred Forces".

"The difference between mass culture and elite" - Milestones in the formation of mass culture. Elite. The birth of tragedy. England. Historical conditions. Philosophy of pragmatism. Age of fear. Signs of mass culture. Art. Foundation of modern mass culture. Structure. Mass culture. Human consciousness. elite culture. Classification of elite theories.

"Typology of culture" - A phenomenon opposite to nature. Philosophical approaches to understanding culture. A culture that combines features of East and West. elite culture. Elements and structure of culture. Removal, withdrawal of a person from the world. marginal cultures. Culture. Eastern and Western types of culture. material culture.

"Types of culture" - Mass culture is a completely new phenomenon of culture. Young people are distinguished by the desire for informal communication. Plan. Character traits mass culture. screen culture. Concept. The concept of "subculture" has firmly entered the lexicon of modern culture. The concept of "subculture". The main meanings of the concept of "culture".

"Technological culture" - Technological culture. Workplace organization. Information culture. Design culture. ecological culture. Entrepreneurial culture. Design culture. Components of technological culture. Technological discipline. Safety engineering. Ecological culture is similar to the return of man to unity with nature.

"Organizational culture" - In general, in learning activities there are all types of human organizational culture. NOTES 1. In clear relation to the types of organizational culture are: . Didactic theories and methodological systems in logic historical types organizational culture. Information system - since information learning can be implemented in any methodological system - from reproductive to projective.

"Elite Culture" - Also focuses more on friendships within the peer group rather than family. Features of mass culture products. Often seen as deviant (deviating), expressing some degree of opposition to the dominant culture. "The Apotheosis of Abstraction". Varieties of culture. elite culture.

In total there are 9 presentations in the topic

UDK 008 GURCHIKOV P.K.

SCREEN CULTURE AS A NEW MYTHOLOGY

Ogurchikov Pavel Konstantinovich - Candidate of Cultural Studies, Associate Professor of Moscow State University of Culture and Arts

Abstract: the article deals with the phenomenon of screen culture as important factor, which intensifies the processes that form mass consciousness. The magic of the screen gives birth to a new mythology, with the help of which the models of human behavior are affirmed in culture, the individual being is placed in a new system of social and cultural coordinates.

Keywords Key words: screen culture, cinema, film mythology.

The ubiquity of cinema and television is determined by the fact that modern reality turns screen culture into a particularly important factor for the present moment, intensifies the processes that form mass consciousness. The magic of the screen gives birth to a new mythology, with the help of which the models of human behavior are affirmed in culture, the individual being is placed in a new system of social and cultural coordinates. Screen culture gives rise to myths in the broad and narrow sense of the word; it not only distorts reality to suit certain social and cultural needs, but also gives rise to myths of social involvement that deform the self-image of the mass audience.

One of the main issues that concern culturologists, philosophers, people from the world of cinema today is the question of the future of the national screen culture. Does it exist, and what forms will it take? It seems obvious to everyone that cinema as an art remains a product of the 20th century. New Age carries a global aesthetic model that will also modify a new spectacle - cinema.

It must be emphasized that all previous cinematic models, one way or another, falsified reality. The director took certain “prints of reality” and edited them in accordance with his concept. The viewer believed in this story already because of its photographic nature. However, modern computer technology has helped the world of fantasy acquire the reality of the artifact. Thus, modern screen culture began to turn into a world of simulacra, in which a person does not experience true reality, being protected from it by myth.

Fashionable today, actively declared prophecies of the social degradation of society serve the function of drawing people's attention to the menacing trends in our lives. This threat distracts attention from reality with its pressing problems and creates a kind of "fork" between the level of a person's expectations and the level of his social claims. On the one hand, there is a picture of some threatening catastrophe, against the background of which modern man is weak and unpromising. On the other hand, modern achievements in the field of natural sciences, psychology, medicine and art indicate the presence of a powerful potential that needs to be realized, becoming almost a threat to society and culture.

This "fork" generates internal conflict in the minds of people, which is able to suddenly “break through” at the behavioral level. Transferring this process to modern screen culture, we get a certain expectation of an explosion, which, I would like to believe, will destroy, first of all, the model of relations based on the principle “a person is a commodity to another”. That is why, now modern cinematography needs a specific theory that would allow revealing the mechanisms by which screen culture affects the world, deforming and transforming it.

Modern screen culture is a collection of images that are created and exist according to the laws of myth construction. Cinema, like a myth, is not understood by the mind, but is perceived by the heart, evoking desires and appealing to feelings. Like a myth, it focuses on imitation of reference models, manipulating values ​​and creating the illusion of reality. Finally, cinema, relying on the laws of myth construction, creates a dominant position of the author over what is the subject or object of the image on the screen.

There is a centuries-old chasm between classical mythology and modern myths generated by the screen, which does not prevent modern cinematography from actively using the "developments" of the classical myth. In the modern socio-cultural situation, this process becomes relevant, because the more a person is suppressed by the onslaught of certain public interests, the more he gravitates towards the myth in its various manifestations.

Thus, modern screen culture, on the one hand, becomes one of the manifestations of mythology oriented towards the past, but on the other hand, creates its own, new mythology. The task of new myths born by the screen is to fill the limitations human capabilities, liberation from fears of unknown and uncontrollable processes taking place in modern culture. Screen culture offers the viewer a new mythological reality in which acceptable images and boundaries of the future can be constructed, frees from fear of tomorrow, offers an imaginary "paradise" of illusions, behind which hide more advanced technologies of subjugation and control over the "silent majority", imposing convenient for the society of priorities.

modern science needs not only knowledge of mythological structures and archetypal models as ways and means of virtualization of things and attitudes on the modern screen, but, first of all, awareness of the new mythology of screen culture - a virtual analogue of socio-cultural reality or, more precisely, its deformed imitation.

We are faced with a contradiction between the impact of screen culture on the mass audience, similar in scale and character to an archaic myth, and the lack of a theoretical explanation of this fact. The removal of this contradiction is the basis of the relevance of the work.

The main aspects of the study are: the study of the content, structure,

dynamics, technologies of functioning of screen culture as a socio-cultural way of establishing communication links between people in the context of mythological tradition.

Myth as a cultural phenomenon is of great interest to various specialists.

Within the framework of this work, the presentation of the main achievements in the field of philosophy, cultural studies, psychology, art history, sociology in the study of modern myth-making, in which modern cinema is actively involved, is combined.

Among the approaches to the myth in the study are considered: historical and cultural (S.S. Averintsev, D.S. Likhachev, A.F. Losev, D. Campbell, S.A. Tokarev, M. Foucault, M. Eliade and others .); ethnographic (K. Armstrong, Yu.M. Borodai, A.E. Nagovitsyn, E. Tylor, J. Fraser, etc.); philological (V.V. Ivanov, E.M. Meletinsky, V.Ya. Propp, V.N. Toporov, O.M. Freidenberg, etc.); structural-semiotic (R. Barth, Yu. Kristeva, K. Levi-Strauss, Yu. M. Lotman,

B.A. Uspensky and others); psychological (R.Bendler, A.Ya. Borodetsky, R.M. Granovskaya, D. Grinder, E.L. Dotsenko, J. Lacan, L. Levy-Bruhl, N. Fry, D.N. Uznadze, Z. Freud, V.A. Shkuratov, A. Etkind, K. G. Jung and others); philosophical (M.K. Mamardashvili, N.B. Mankovskaya, F. Nietzsche,

A.M. Pyatigorsky, G. Spencer, J. Habermas, J. Huizinga and others); sociological (J.Baudrillard, B.Dorn, E.Durheim, M.Weber, E.Ross, W.McDouggal and others).

The analysis of the specifics of media culture and its interaction with the outside world was carried out by: R. Arnheim, A. Bazen, M. M. Bakhtin, D. Bell, V. Benjamin, V. Bibler, L. S. Vygotsky, M. Castells, Yu. .Lotman, M.Makluen, G.Makruze, V.G.Mikhalkovich, J.Ortega-y-Tasset, E.Toff-fleur, Yu.N.Tynyanov, A.A.Urbanovich, V.P.Sheynov and others .

Psychological aspects, important for research topics, were taken from the works

E. Bern, A.Ya. Borodetsky, E. Brunsvik, I.A. Gelman, J. Gibson, V.N. Zazykin, V.P. Zinchenko, I.V. Levin, R.I. Mokshantseva, S.A. Omelchenko, F.G. Pankratova, E.Yu. Petrova, S.V. Pokrovskaya, R. Chaldini, V.G. Shakurina and others.

Issues of correlation between "elite" and "mass" culture and features of their functioning in modern Russian society reflected in the works of V.S. Ageev, E.V. Aleksandrov, L.I. Akimova, S.N. Artanovsky, G.K. Ashin, A.P. Midler, V.Yu. , Yu.P. Budantseva, A.A. Grabelnikova, T.G. Grushevitskaya, V.D. Popkov, A.P. .V.Kukarkin, V.I.Mikhalkovich,

A.D. Trakhtenberg, A.V. Fedorov, A.Ya. Flier, Yu.U. Fokht-Babushkin and others.

Studies of the processes taking place in post-Soviet Russia also gave rise to a number of interesting works that explore the relationship between screen culture and society, personality and media text: A.A. Andreeva, E.S. Barazgova, V.S. Bibler, E.A. .A. Bragina,

V.N.Egorov, T.I.Zaslavskaya, I.I.Zasursky, Yu.S.Zatuliveter, I.V.Ivanov, V.L.Inozemtsev,

S.G. Kara-Murza, A.V. Kostina and others.

A study of direct screen culture is presented at this moment little studied. We based on the fundamental works of R. Arnheim, I.V. Weisfeld, E. Veitsman, D.A. Vertov, L.S. Vygotsky, S.A. Gerasimov, P.S. Gurevich, A.F. Eremeev, S. I.Ilyicheva, B.N.Nashchekina, N.B.Kirillova, V.F.Koleichuk, N.V.Lysenko, S.A.Muratov, K.E.Razlogov, M.I.Romm , Yu.N.Usov, V.B.Shklovsky, S.M.Eisenstein and others.

To date, many works have been created that consider the phenomenon of film culture mythology, the analysis of which allowed us to draw the following conclusions:

1. Modern screen culture influences the archetypes of consciousness tuned to the understanding of being as a myth. The viewer readily accepts the stereotypes offered by the cinema; cinema, like myth, helps him easily fit into the coordinate system of the modern world order.

2. Modern cinema can be called one of the forms of new myth-making. On the one hand, today mythological technologies are actively used in the creation of films. On the other hand, the magic of the screen implies the presence of each viewer as an accomplice of a conventionally created virtual reality. A person involuntarily finds himself "embedded" in the context of this reality, which dictates to him a system of social and cultural property, becomes integral part his inner and outer world.

3. New mythology of the screen with its total penetration into all areas human life creates virtual worlds. This is due to the Internet, because the modern screen is directly related to the Internet. The viewer has an imaginary (virtual) space in which he can for a long time stay. It is in it that all the achievements of modern globalization processes are embodied.

4. One of the features of modern screen culture is the distortion of reality generated by it, up to the deformation of cultural values. The myths that the screen culture generates become a threatening factor for the culture as a whole. The modern screen, while continuing to fragmentally or globally capture the iconic experience of mankind and thereby deform it, adapts to the mythologized screen world of everyone who stops their attention on it.

5. In addition to adequate orientation of the viewer in the world, screen culture is a way to control and organize it. Becoming a secondary modeling system, it structures almost all areas human activity. The creation of new meanings, the processing of reality by a modern screen creates the illusion of co-creation in a new reality. In fact, we are dealing with one of the types of manipulation, with the help of which the "necessary cultural" myths take over the public consciousness.

6. Myths, as a rule, are a false mobilizing system that artificially “fits” the masses into social reality. In this context, "mythologization" means a deliberate distortion of reality, the transformation of the mass consumer into an object of political and ideological manipulation. However, there is a potential positive side of mythology that is able to “level out” social distortions: to form positive thinking human, destroying aggressive social role models.

7. Screen culture, manipulating mythological images, including Eros, creates a sense of trust. Archetype based system symbolic images“connects” to the perception of what is happening on the screen of each viewer. So cinema suppresses and excites at the same time, manipulating complexes and unconscious desires. By creating the illusion of the abolition of everyday life, screen culture has a destructive effect on the inner world of a person. The eroticization of modern screen culture is a compromise between the fear of sexual pluralism and uncontrolled forms of sexual expression.

8. Screen culture constructs the reality of the viewer with mythological techniques, “tames” culture with the help of novelties modern technology, forms the functioning necessary for the society of each potential consumer of screen culture products. The ultimate goal of this process is the transformation of the mass viewer into a controlled crowd, the erasure of personal characteristics and the impossibility of satisfying creative and spiritual needs that go beyond the boundaries "outlined" by the screen.

9. However, the new mythology is not exclusively negative character, its task is not only the manipulation of consciousness, but also the psychological adaptation of a person to new changes in the post-industrial society. In addition, with the help of a new mythology generated by screen culture, communication in the crowd is simplified, which relieves mass psychological stress.

10. The orientation of modern screen culture to the generally accepted norms of relationships between a person and the outside world has an unconditional positive value: it allows the viewer to feel protected, involved in a certain common “we”, forms images of identity among representatives of large and small social groups.

11. Myth-making in screen culture can become a resource for the positive modernization of society, the restoration of the lost "building blocks" of a mentally healthy society: patriotism; professionalism; harmonization of relations between generations; correct understanding of duty and freedom; aesthetic and artistic taste; basic postulates of mental and physical health, rehabilitation eternal values being. But this is feasible only for cinema of the highest aesthetic level.

12. Myths in screen culture not only help modern man to build a symbolic model of reality, but also level the internal conflict of the person himself generated by it. Built according to mythological laws, cinema becomes psychotherapy for the inhabitants of the post-industrial era. The myth becomes a salvation for a person living in a situation of elusive values.

Spiritual culture of the individual and society, its significance in public life. Culture is folk, mass and elite. Screen culture is a product of the information society. Culture is the world that man has created for a comfortable existence. This world is constantly changing, adapting to new social demands. CULTURE = TRADITIONS + INNOVATION Spiritual culture is an important component of human activity, associated with the level of education, thinking, social environment, quality of life, individual and society as a whole. The spiritual culture of the individual includes knowledge, faith, feelings, needs, abilities, aspirations, goals of people. The spiritual life of a person is impossible without experiences: joy, optimism or despondency, faith or disappointment. It is human nature to strive for self-knowledge and self-improvement. The spiritual culture of the individual includes the level of upbringing of the individual, the knowledge he has mastered about himself and about the world. Spiritual culture plays an important role in the life of society, being a means of collecting, storing and transmitting the accumulated human experience. Culture is one of the most important characteristics life of both an individual and a particular society as a whole. Folk culture refers to the culture of the broad masses of the people. The peculiarity of this type of culture lies in the fact that it is formed from the moment of the formation of a certain nation state. Its basis can be called the amateur creativity of the nation and the experience of the masses. Often these are traditions and customs. The elite is formed in the upper strata of the class society. This happens from the moment they are fixed high position in society. The elite culture includes a specific lifestyle, services and professional art. Elite culture is disconnected from folk culture, and forms its own traditions and values. Mass culture became possible from the end of the 19th century. This is due to the fact that it became possible to receive education for the broad masses and disseminate elements of an elite culture. The cultural level of the broad masses began to rise. Thus, mass culture is formed at the intersection of folk and elite cultures. Screen culture is an indicator of socio-cultural progress in the history of the world community. In general, the spread of screen culture by means of cinema, television, computer has led to a change in the picture of the world, the vision of man. Thus, screen culture is a developing system of such interrelated elements as film, television and computer cultures, the system-forming feature of which is the presentation of information in an audiovisual and dynamic form.