Olga Andreeva

Introduction. In the last third of the 20th century new trends appeared in various spheres of public life. That made possible to characterize this time period as the era of postmodern. The culture processes of this period were called postmodernism. Despite significant research on the topic and phenomenon of postmodernism, it remains a subject of discussion, which makes the problem of its further study actual. The article reveals postmodernism through the prism of new accents in the disclosure of artistic images in world and national cinema. Transformation of artistic imageries in the cinema is analyzed in the historical, cultural and philosophical terms, which is an element of novelty of the article.Methodology and sources. The methodology is based on the analysis of sources and literature, taking into account interdisciplinary approaches. Historical, comparative, systemic and semiotic research approaches are used. The author also used an integrated approach (formational and civilizational), which gives us a new perspective in understanding cultural phenomenon.Results and discussion. The artistic images of the world cinema are conceptually considered in a comparative analysis with the pre-war and post-war eras. The theoretical basis is the work of foreign (F. Jameson, J. Lacan) and domestic researchers (V.M. Dianova, I.P. Ilyin, N.A. Khrenov). National cinematography in the postmodern era is studied in the context of global and European processes, which makes possible to identify its general and specific feature.The results of the study show that in the last third of the 20th century, a significant transformation of artistic imageries took place in the world and in the national cinematography. It was based on unprecented social and cultural processes that led to profound behavioral and discursive changes. National cinematography reflected in its development global trends. However, the cultural development of Russian society in the postmodern era coincided with a systemic crisis and the collapse of statehood. That determined the specificity of Russian postmodernism, its philosophical and cultural orientation. In this regard, the urgency of the problem of studying the cultural dynamics of spiritual processes of the late Soviet period and post-Soviet Russia, including in cinematography, is obvious.Conclusion. Cinematography as one of the most important phenomena fully reflects the dynamics of modern spiritual processes. Therefore, the study of artistic imageries of the world and national cinematography in the postmodern era is of significant research interest. The use of interdisciplinary and integrated approaches, taking into account the achievements of foreign and national researches, allows us to get a multidimensial picture of the spiritual transformation of the society. An unbiased understanding of the cultural and historical experience of the last third of the 20th century makes it possible to better understand the modern world, because without an analysis of the past, both the present and the future are inconceivable.

Theoretical and Practical Aspects, the purpose of writing of article is the explanation of possibility of a reflective realization of modes of existence taken from the attitude of ‘semantic’ part on concrete examples in the culture. Ontologic modes ‘existence in themselves’, ‘existence for themselves’ and ‘existence for another’ have various semantic attitudes caused by the contents and structure of modes and components of culture. The interpretation of meanings of verbal and nonverbal components of culture. Modes of existence, being expressed in sign structures, are reflectively accustomed and established in ‘possible’ existence, in ‘real’ existence, in ‘due’ existence, in ‘semantic’ existence. Existence from the positions of ‘semantic’ part means interpretation of the system of the signs of culture and their meanings, senses, forms and expressions; also it interprets the ways of expression of sense and meaning, and contextual semasiology of the specified reflective realization of the modes of existence. Meaning and sense are connected with two informative operations: meaning is formed, mainly, as a result of recognition of subjects by definition of their similar and different signs, and ‘sense’ acts as an informative substratum of understanding of a place and a role of these subjects in the structure of the corresponding situation of existence. The Semantic-semiotic center of culture, pronounced semiologic meanings, effective and ceremonial ritual constants in the system of culture are fixed in lingua cultural texts. The lingua cultural text as a form of translation, ‘transcription’ of culture is always semantically informative and represents a culture sign from the attitude of the ‘semantic’ analysis.

The purpose of writing of article is the explanation of possibility of a reflective realization of modes of existence taken from the attitude of «semantic» part on concrete examples in the culture. Ontologic modes «existence in themselves», «existence for themselves» and «existence for another» have various semantic attitudes caused by the contents and structure of modes and components of culture. The interpretation of meanings of verbal and nonverbal components of culture. Modes of existence, being expressed in sign structures, are reflectively accustomed and established in «possible» existence, in «real» existence, in «due» existence, in «semantic» existence. Existence from the positions of «semantic» part means interpretation of the system of the signs of culture and their meanings, senses, forms and expressions; also it interprets the ways of expression of sense and meaning, and contextual semasiology of the specified reflective realization of the modes of existence. Meaning and sense are connected with two informative operations: meaning is formed, mainly, as a result of recognition of subjects by definition of their similar and different signs, and «sense» acts as an informative substratum of understanding of a place and a role of these subjects in the structure of the corresponding situation of existence. The Semanticsemiotic center of culture, pronounced semiologic meanings, effective and ceremonial ritual constants in the system of culture are fixed in lingua cultural texts. The lingua cultural text as a form of translation, «transcription» of culture is always semantically informative and represents a culture sign from the attitude of the «semantic» analysis.

Introduction. Interest in the work of avant-garde artists does not wane as they move away from the 20th century. This is due to the fact that the musical avant-garde, becoming a sign of the time, reflected the most important trends of the outgoing era. In the paper, the Soviet musical avant-garde is considered in the historical, cultural and philosophical aspect in the context of the historical era, which determines the novelty of the study. An aspect of novelty is the analysis of music as a sphere of intercultural communication.Methodology and sources. The research methodology is based on the analysis of sources and literature, taking into account interdisciplinary approaches. A special role in the understanding of the theoretical aspects of the problem play the work of musicologists Yu. N. Kholopova, V. N. Kholopova, V. S. Price, R. L. Pospelova, A. I. Demchenko. Among the sources highlighted in cinema, photo- and phonodocuments, which depicts a vivid image of the era. The interviews with composers, which presents a wide canvas of social and musical life (A. Schnittke, A. Ivashkina entry and volkonskii, recording E. Dubinets) are of considerable interest. Historical, comparative, systematic and semiotic methods of analysis were used. Applies a comprehensive approach (formation and civilization methods of research and the Annales school). This allows for a new approach to the historical era of the middle1950s – 1980s.Results and discussion. Postwar culture is examined as a single space, in which a special role was played by the impulses of the “thaw”. They gave cultural phenomena such inertial dynamics, which preserves the spiritual maturity of society and produced changes of the 1990s, the results of the study show that in contrast to the political and socio-economic processes, cultural life in these years continued to feel the pulses of the “thaw”. Retaining the inertial dynamics of development, cultural processes have been far from stagnation, which casts doubt on the overall rating this time as the “era of stagnation”. This allows you to put a discussion question on the revision of the political clichés in relation to the period of the middle 1960s – 1980s in the Soviet Union as the “era of stagnation”.Conclusion. Soviet avant-garde, expressing the spirit of the time, represents the unique phenomenon in which reflected global trends, and the uniqueness of national culture. Experience avant-garde shows that cultural processes of the epoch middle 1950s – 1980s had a high development dynamics. The study of this period, especially in its spiritual sphere, requires interdisciplinary approaches and the use of modern, including foreign methods. Interest methods of the Annales school in its historical retrospect and the “new cultural history”.