Levchenko N.V., Rogovaia A.V. Regional cinema: social reality or myth? Monitoring of law enforcement. 2023. No. 4(49). Pp. 81-90.

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Abstract

Purpose of the paper: analysis of the existing main theoretical and methodological approaches to the interpretation of concepts of “images”, “meanings” and “constructs” contained in contemporary regional films, sociological comprehension of the content of regional films in their relation to the available regional filmmaking resources. Method of study: interdisciplinary analysis of scholarly theoretical and methodological approaches to analysing film content. Also used was the method of analysing documents represented by short and feature films of Kaluga Oblast, Republics of Buryatia, Sakha (Yakutia), Khakassia, and Ñhukotka Autonomous Okrug. Study findings: an analysis of research literature showed that films are considered by researchers from different perspectives. Representatives of the semiotic approach analysed films as sign systems paying attention to frame building and plot structure. The dialogic approach is based on overcoming communication problems through a dialog between the film and the viewer. The ethno-sociological approach is based on the involvement of ethnicity in various practices related to film industry development in the regions. The narrative analysis is a multi-pass text analysis according to certain key parameters. Based on the examined approaches, the study defines the “image” as a certain symbolic meaning formed on the basis of the film context perception, while the “construct” is considered as a certain structuring of meanings and images closely related to personal perception and understanding of the peculiarities of life in the regions. The study found that the role of family and origins, one’s own environment and love for one’s small homeland is put forward to the forefront in regional cinema. Ideas of importance of human relations, moral qualities, topics of friendship and mutual assistance are often also brought up in the films. Contemporary regional cinema combines both ethnic diversity (preserving at the same time Soviet values) and local specifics. In this case, “regionalism” as a social process is determined primarily from the aesthetic side as a “return to the roots” based on folklore, folk art, showing the specific features of the mentality of a locality or region. Research novelty: an analysis of contents of regional films is carried out which makes it possible to see a reflection of social reality, the life of society translated to the cinema screen. Specific features of the narrative of ethnic films, personal motives of the films’ directors are examined, and an attempt is made to provide a context a