Visual turn. Visual methods: use of images in psychological research

Chapter 6 described the main qualitative approaches (phenomenological, narrative, discursive, etc.), which constitute the region today qualitative psychology (Qualitative Psychology). As part of these approaches, mainly methods of working with textual data (data interviews, naturally occurring conversations, etc.) have developed. High-quality psychology was drawn up in many ways in the context of the ideas of "linguistic turn", in the field of debate, the participants of which were actively used by references to the philosophy of language, hermeneutics, poststructuralism. The main task of the high-quality researchers were seen to reveal how people are experiencing certain events and what's sense to give Gem or other aspects of reality. The idea that in the process of sense formation, the most important role belongs to the language, which, it is through the language that people design social reality, form their own identity, structuring personal and collective experience, has become a common place for many theoretical directions of the second half of the XX century. In connection with the above, it was not surprising that the language became a privileged interpretative resource for supporters of high-quality approaches. Researchers-qualitative students appealed primarily to oral speech and written texts, began to develop methods for analyzing individual narrations and dialogues.

However, the "language of words" although it is the most powerful means of creating meanings, is not the only way to express and understand the experience. Even in everyday life monomodal "Language of words" is often inclusive in fabric multimodal Languages, where, along with the words, visual images are presented, "body language", musical sounds, etc. The full understanding of human experience is possible only when accessing various models of meaning, to what is expressed with not only words, but also images, plastic languages , music.

Starting from the late 70s - early 80s. XX century In the field of the methodology of social and humanities, they have increasingly began to talk about the need to rethinking lingucentric models of interpretation and the relevance of the development of new analytical instruments that would allow "to grab" the peculiarities of human existence in a modern visually oriented culture. Changing the modus of life, the emergence of new methods of assembling the cultural reality and human self, which now occur not so much in the coordinates asked by the culture of written text, as in the conditions of "invasion of visuality", provoked the appearance in the humanitarian sciences of a special trend: the pointed interest of modern researchers to everything, what refers to the process vision and K. visible world. This common trend of the transition from lingocentric analytics to video centered models of understanding of the psychocultural being of a person - from the "World As Text" to "Mire as a picture" - got a name visual turn.In modern humanitarian sciences ripen the special area of \u200b\u200binterdisciplinary visual studiesfocused on studying visual culture (Alexandrov, 2003; Bal, 2012; Visual Anthropology, 2007; Didi-Yumberman, 2001; Uberman, 2007; Elkins, 2010; Mirzoeff, 1999; Rose, 2001; and others; see also specialized magazines: Journal of Visual Culture ; Visual Studies; Visual Anthropology; Visual etnography).

Visual studies are based on a number of already become classic philosophical works, which proposed visual analysis models. Among the most cited can be called the following authors: V. Benjamin, M. Merlo-Ponti, J. Lacan, R. Bart, M. Fouco, A. Warburg. In recent decades, new visual theories are proposed, analyzed, what role modern visual technologies play in the generation of meanings and pleasures, how, through visual practices, identity and subjectivity are formed, as ideology is working and interpreted the subject of ideological action at the deep unconscious levels of the psyche. Of interest are numerous studies on the history of the artistic image, in which new topics appear compared to traditional arts: the relationship of the artistic image with power practices, social order, ideological priorities. Anthropological visual studies raise questions related to the cultural history of visual perception and its transformation in connection with the emergence of new technical mediation mechanisms - photos, movies, video.

In sociology and social anthropology, it is shown that the "aesthetic" is a significant part of the process of designing personal and social identity (ADKINS, 2002; Banks, 2001). For example, a photographic image is a key sign of modern daily culture - contains richest information about the types of cultural subjectivity and cultural practices, which is extremely difficult to translate to a regular verbal language. Sociologists point to the performance aspects of "visual aesthetics" (objects of clothing, decorations, the "beauty industry") participating in the formation of gender and class relations. Perhaps "visual languages" and there is a realization that sews the tissue of discursively designed socio-psychological experience and body forms of being-in-world, and the appeal to it will make it smoothing the discursive and bodily gap, which inevitably rests theories that focusing the role of language in Designing the human world. An example of such a breaking of the gap may be one of the studies of L. Eckins, which analyzes the value of the "aesthetics of the dresses" in the generation and approval of the body marked by the sex sign and the formation of gender identity (Adkins, 2002). As V. Gillis with co-authors notes (Gillies et al., 2005), a person is potentially able to talk about bodily experience and build it in imagination, however, the identification in the image sometimes becomes a much more powerful means of "grasping" emotions associated with this experience, Moreover, such a figurative "grasp" can almost not be verbal articulation. The said at all does not mean that emotions and physicality are separated from socially designed language systems, but the form in which we live our experience is far from always accessible by the verbal description using a regular everyday language (IBID.).

In psychology, the appeal to visual images has a long tradition. Chapter 13 has already been discussed on the widespread use of images in the framework of the projective study. Visual images in projective techniques perform the role of incentives, as it occurs in Rorshah or Tat ink peat test, and the role of the product to be interpreted by the activities of the surveyed, when people are asking for something to draw or construct. In the latter case, the psychologist solve the meaning of the image in which, as expected, the personal features of the author are reflected (representative).

The projective approach is based on the assumption that the product being created by a person is a verbal story, a visual image - is the projection of his personality. I exaggerate this idea somewhat, we can say that it is a peculiar portrait of who speaks or draws. In other words, in the projective approach it is assumed that there is a connection between the units of speech, drawing, and the like. and personality features, and this connection can be traced. Such an assumption, however, is far from indisputable. In modern quality approaches, supporters of which are developing textual analysis methods (for example, various options for discourse analysis), the language is understood primarily not as a representative, reflection (someone who tells, and what is narrated by), but as an action: Language moves are inscribed in relevant communication and perform certain functions within it (they affect the interlocutor, it causes a one or another emotional reaction, etc.); In addition, speaking, a person occupies one or another position that he has already been prepared within the framework of social discourses, it is largely due to the dictionary, sociocts, language games, "interpretative repertoires", systems of connotations peculiar to social or cultural groups, and so on. P. From the standpoint of post-structuralism it is impossible to think of a person as a stable, holistic, having an individual essence, without defining the level of discourse, inside which it is designed. In the light of these and similar ideas, the text ceases to be only a projection of someone who speaks or writes; More precisely, it becomes a projection only when we as researchers look at it from a certain theoretical perspective - a projective approach. And changes the status when we occupy a different position. "What is the status of the text?" - This question always asks for a researcher-quality, starting to analyze the material. We can perceive the respondent as a source of information about the object you are interested in, and then the text of the interview will be a reflection of the events that the narrator tells about us. The text may be an illustration of a discursive work of the speaker, which occupies a certain place within the social context, and then we will be interested in the first all cultural and symbolic resources, through which certain ideas about the world are produced. You can perceive text as an indirect expression of unconscious feelings, motives and desires of the speaker or understand it as a form of representation of cognitive processes and schemes, and can be considered as a communicative event, within which everything that is pronounced or written has the meaning of communicative action. Etc.

"Visual turn" inherits a lot of what was carried out within the "linguistic turn". Concept appears in relation to images visual textualityThe image is analyzed as a special language in which there is a representative side (the image is able to reflect both aspects of reality and the peculiarities of the one who creates it), and the side associated with the design (creating an image, a person in a certain way positions itself, encodes the material in accordance with the rules developed in the culture, designed the one or another version of reality characteristic of certain groups or communities, etc.). Analytical techniques developed in the field of text analysis are applicable to the image (content analytical encoding procedures, hermeneutic and semiotic analysis of the meaning, psychoanalytic interpretation of hidden values, discourse-analysis of communicative and socio-political implications, etc.). At the same time, another dimension of the image is postporated, which just allows us to consider it as a special intermediary with a specific, only inherent in the logic of the formation of meaning. This measurement is the special materiality of images: they only have a certain symbolic meaning, they tell us something, are encoded messages, and therefore need to be decrylling; Images are also "semantically oversaturated material surfaces configuring social connections" (Inishev, 2012, p. 193). And as an adequate way to access them, they require "not an analytical distance, but carried out with the analytical intentions of perceptual immersion" (ibid).

As in the field of research on text, analytics, starting to work with images, it is necessary to answer the question "What is the status of an image?". The image as a projection of personal features is just one of the possible positions. V. Gillis with co-authors allocate several ways to read images:

• 1) the image can say something about the nature of the phenomenon himself (in the study of V. Gillis and colleagues studied phenomenon was aging, which was trying to portrait in the drawings of participants);
• 2) the image makes it possible to understand something in the person of the one who created it (position within the framework of the projective hypothesis);
• 3) The image indicates what cultural resources / meanings that use the authors of the images;
• 4) The image serves as an incentive, initiating a more in-depth conversation about the phenomenon (Gillies et al., 2005).

In some cases, the researcher moves in the context of all four designated conceptualization, in other cases it, depending on research purposes, is focused on one or more. Chapter 12 addressed examples of how the drawing can be used to study the singularities of the social object perception. In this case, the researcher focuses on what the drawings of the subject of interest are interested in it (for example, what is the image of Russia in the ideas of young people). At the same time, the drawing, as a rule, also plays the role of an incentive in cases where respondents ask not only to draw something, but also to tell about what they were depicted: in addition to the fact that the explorer clearly clarifies the meaning of the drawing, he gives The opportunity to responding, telling about the image created by him, to advance in understanding its attitude to the object. The material of drawings and collages obtained in focus groups can be analyzed and for cultural resources to which respondents resort to, constructing images. The status of the image as a person's projection in such studies is usually not considered. And on the contrary, during the study, for example, the dynamics of psychological states in the process of psychotherapy, the drawings created by a person are interested in the researchers, above all by their ability to reflect the inner world. In this case, images can also serve as a good help in the deployment of the therapeutic conversation. As already noted, work with a way always requires a special analytical position - perceptual immersion, Without which, perhaps, it is impossible to understand what the image of the object or phenomenon says, neither understanding the personality of his author.

Visual methods used in modern social sciences are very diverse. They can be streamlined by several reasons.

First, there are methods of working with such visual images, for the creation of which special technical means are not required (work with drawings, collages, etc.), and methods of working with images, for the creation of which technical means needed (techniques and photo-hareting methods , methods of working with video materials).

Secondly, visual methods differ on the basis of who is the author of images. Visual images can be created by the researcher himself who form a complex of visual data (ethnographic photo and video exploration, in the process of which the researcher makes the photos you need and (or) produces video recording). The authors of visual images may be the respondents, research participants, creating drawings, making photos, etc. (Traditional projective techniques; The use of visual images in the framework of interactive, jointly conducted partitioning research (Participatory Research), such in which the respondents themselves, along with the researcher, are actively involved in the study of their living world). Finally, the authors of visual images may be third parties (analysis of artworks; use in the study of archival photos and video materials).

Thirdly, in the visual methods, the images themselves play a different role: they can serve mainly in stimuli to deploy a conversation (interview method using images) or advocate predominantly objects of analysis (figure techniques; analysis of visual material in interactive studies). As already emphasized, in many studies, the image serves as an object of analysis, and acts as an incentive for the deployment of the conversation (the "conversation + drawing method", methods of photography and photogolos).

Below we will focus on several visual methods, which, in our opinion, are most in demand in psychological research. It should be noted that the use of visual images has become one of the bright trends in the field of qualitative research in the last decade. A lot of interesting works appeared in Western psychology, in which new ideas about the image are assimilated (see, for example: Visual Methods in Psychology, 2011). As for domestic researchers, sociologists are quite often addressed to visual approaches. In domestic psychology, visual images are used primarily as part of the research using traditional projective techniques, however, the other approaches to understanding the images, although fragmentary, but are still presented. An example is the reviews and own studies of the psychologist G. A. Orlova, made in the interdisciplinary plane; It should also be noted the use of painted techniques and collages in focus groups, described in detail by the social psychologist O. T. Melnikova.

• Currently, in the literature you can meet several expressions, which are unreserved as synonymous: Iconic Turn, Pictorial Turn, Imagic Turn, Visual Turn. Rogue-related, theoretical postulates designated "turns" are somewhat different friend of each other. For example, supporters of "iconic turn" (the most bright of them - the Swiss art critic G. Bech) focuses on the ontological component, emphasize the idea of \u200b\u200bthe image as a presentation: "The image is a presentation, the source of the power, the nature of which is the object that is found by Genesis requires To, who analyzes him, paid close attention to the way he impact magic on the viewer "(K. Moxy, Cyt. By: INISHV, 2012, p. 188). The theorists of "Visual Turn" (for example, American Media Theorient N. Mirzoev) interpret the image of a copy to the representative of the Representation policy, in the foreground of their interest are the social and political implications of figurative contents (more on the types of "turns" associated with visuality, see: Inishev 2012). For the field of psychological research, the conceptual differences between the Iconic Turn, Visual Turn and others are not so significant. The most general vector of transformations associated with the redefinition of the foundations of research models is turning to visuality as such. It is in this sense - as a turn of visuality in general, which combines all private turns, is used here by "Visual turn".

# Politics # Phenomenon # Visualization # Information # Consulting

The article discusses the phenomenon of the visualization of political space. The role of key visual instruments that are applied by modern specialists in the field of PR, GR and political consulting are discussed.

Keywords: visual turn, political technologies, visualization.

The modern world is saturated with information, the existence of society is impossible without communication, providing information needs. It is important to emphasize that today there is a tendency to strengthen the role of visual information in the socio-political space compared to verbal. Proclaimed in science at the end of the twentieth century "Visual turn" in science and culture - the reality of today.

It is not that the scientific world unexpectedly discovered for himself and other the strength of images and is ready to "close" the language world, and in refusal to recognize natural language dominance in the turnover of language images: researchers begin to insist on the ability of the visual media themselves, bypassing the language Actively interfere in experience.

Infographics, photos, drawings, caricatures are the most popular forms of visualization. Thus, drawings and graffiti details, focus on the author's vision of a particular problem. Infographics illustrates data difficult to understand. Video and photographs make it possible to become a member of the event, make your own conclusions from what is happening. Visual dominance can be explained by several factors. First, the nature itself of modern communication, including political, undergoes significant changes. In the separation of content to the verbal and visual leading role, the text is traditionally discharged as the main information carrier.

However, consumers of information are increasingly more difficult to perceive an avalanche of events that occur every second-reviews are trying to evaluate what is happening without in-depth text reading, most often considering images. Secondly, in the framework of globalization processes, the language of visual images is more responsible for the urgency of interethnic communication, and its economy, instant intuitive clarity ensures the speed of communicative processes.

For example, in the political context, the dominance of verbal information symbolized totalitarian regimes due to the normative nature of the text. Visualization means liberalization of communicative relations. The perception of a visual image requires completely different logical operations compared to the written text or oral word, which reduces the criticalness of thinking, as the picture is given in the integrity of simultaneously, brightly and throw, without requiring long subtraction and reflection. As a result, an aestheticization of politics occurs through the domination of visualization. Visuality becomes a significant factor in the design of political practices: the political interaction of the state, society and individuals, the process of political socialization, PR campaign of parties and movements, etc.

Our political identity is formed in the visual field surrounding us through TV, Internet, advertising, glossy magazines and even conceptual art. The term visualization means a method of graphical representation of meaning, a statement of events with a non-verbal way. Visual content faster enters the consciousness of the recipient, remembered, causes certain associations, persistent stereotypes, which are successfully used by PR specialists, press services of government departments and political technologies. Therefore, the purpose of this article is to identify the trends in the functioning of different types of visual instruments in the political space, scientifically substantiate their advantages depending on the characteristics.

Visualization expanded the possibilities of political science, made it more flexible in the possibilities of processing and representing significant data and events. Considering that digital technology affects all spheres of public life, a continuous flow of information received by a person from different sources, on the one hand, is necessary, and on the other - the consciousness is not able to perceive, sort, analyze and form their own political content. The result of the protection against overload information was the emergence of a new type of thinking - the so-called video perception of messages. The recipient of the entire diversity of messages grabs fragments, fixes them in memory and stops on some of them. The "Image title-text" scheme corresponds to the principles of clip thinking, since visualization causes human interest with its actuality, detailing, emphasis and intrigue.

Visualization operates with visually perceived images, contributing to the understanding of "complex" topics, and gives emotionality to political communication. Visual forms as well as verbal have their own laws of application, varieties, features of implementation. At the same time, aesthetics acquires a functional value, but is not an end in itself. The words of visualization are graphic images that are combined with logical and compositional principles. You can visualize a certain person and a person portrait, for example, a candidate for elections, ministries, departments and political parties (so-called branding), individual political situations, international conflicts - absolutely all data.

In fact, visualization is technology. And, like any other technology, visualization has a certain goal, applies concepts, methods and means borrowed from other areas, namely: the principles of the card design (cartography), the principles of data designation in charts (statistics), the rules of composition, stinging, colors ( Graphic design), writing style (journalism), software (informatics, programming), orientation to the target audience (perception psychology). The goal and tasks facing PR specialists and political technologists determine the form in which a person or an event can be represented by the public. The content and form of visualization are inseparable, complement and more fully reveal each other. All variety of visualization of political content can be classified as follows: the simplest graphic symbols (pictograms, monograms, logos, emblems, ornaments, vignettes, screensavers, decorative elements); drawings (cartoons, cartoons, comics, graphic, technical and artistic pictures); infographics (cards, charts, tables, graphs, trees, matrices, plans, structures and flowcharts); photos; video; graffiti.

Historical and cultural traditions make symbols universal. Man every day subconsciously perceives thousands of characters, and in some cases they become peculiar guidebooks, indicate the topic, replace them with the text page. Designation of well-known symbols - man, animal, arrow, lightning, etc. - Easy to perceive and used for safe and fast navigation. For example, a sign of the turtle means slow motion, cheetah - fast. Stylized, easily recognizable graphic image, as easily simplified according to its forms, promotes understanding the problem. Graphic icons-pictograms are designed to quickly transmit information in a stylized, abstracted artistic manner, their content is understandable to everyone, so it is customary to take into account traditions and intelligent audience level.

The pictograms increase the characteristic features of the object, since they are deprived of extra details, perceived unambiguously and quickly fixed in memory, learn when subsequent use in any size and context. The simplest symbols in the political space are implemented in the logo, initials. The composition of the party logo, the ministry, governments is as simple as possible, is holing, uniform, concise, but not primitive. Easy manifests itself in the absence of insignificant parts. As is known among the symbols inherent in each of the forms of statehood, printing and crown, crown and cross, scepter and power used in the delivery, wedding for the kingdom or coronation are distinguished. Therefore, many government departments depict them on their logos. One of the main tasks of political branding is to solve the issue of party integration, identification and differentiation in the political space.

Symbols are actively involved in political competition among parties. The change of power is accompanied by a change in political symbolism. Political symbolism is in complex and multifaceted relationships with political processes, interests of various social groups and structures. Symbols are closely related to ideological programs of political forces, acting by a specific carrier of content of different ideologies.

Pictures, as a form of visualization, are becoming increasingly popular on the covers and pages of magazines. It is caricatures, graphic, technical and artistic images. The drawing demonstrates the figurative vision of the author, artistically interprets an event, emotionally adjusts the reader. Functions of drawings not only in the presentation of the content in the author's vision of the situation: the emotionality of the image is played a significant role. Three drawings like a cartoon, caricature is inherent in the distortion of reality by exaggerating certain traits or characteristics, deprivation of everything insignificant, lighting only the essence of the event. More accuracy and concreteness reveal the content, structure of the object, the design scheme. Technical drawings.

The caricature is designed for the reader who understands what it is about, and, in essence, does not bear new information, but only its emotional color. From an artistic point of view, the caricature is considered successful if it exaggerates both the form and content; With political and journalistic - caricature is most valuable when exaggeration exposes the essence of the problem. Infographics erroneously appeared with visualization: their differences are essential, as infographics enters the visualization as one of its species. Infographics represents data in the form of statistical graphs, cards, diagrams, schemes, tables, and data visualization offers visual tools that the audience can use to explore and analyze data sets.

That is, if infographics reports information intended for communicators, the visualization helps readers to create their own vision of the problem. Facts and data can be represented by recipients both in the form of demonstration (infographics) and research (visualization). Some topics are quite visual, are well structured, which easily turns them into infographics: for example, a long event with fixed intermediate episodes - presidential election, currency exchange, migration, etc.

Complex and multidimensional events are ambiguous interpretation, for example, musical aspects in the image or earthquake and everything connected with it. Infographics are not able to demonstrate the relationship, explain the features - visualization also considers the situation comprehensively. The main purpose of infographic is to improve the perception of information, the clarity of complex volume information, analysis of trends and processes, since it transmits messages more interesting and more compact than the text.

Infographics accumulates large volumes of facts, visual images indicates events in time and space, demonstrates a dynamus. It is inherent visuality, concreteness, independent content, not repeating text, analytical, schematic, practicality. Accordingly, the main types of infographics are reduced to: statistical graphs, charts, timelines, maps, plans, tables, matrices, explanatory, structural schemes, networks, trees, flowcharts; Visual associative images. The photo is important, one can say the mandatory, which is a modern visual series. The photo is a means of knowledge and interpretation of reality, it transmits the mood and atmosphere of the event, attracts attention to the material, makes it possible to consider the smallest details, feel like a participant in the event and make an impression of him. In addition, over time, any photo becomes a document that fixed the fact by turning it into. The essence of photographs is characterized by a high level of documentaryism and informativeness, its goal is visibility.

As a visual form, the photo gives a preliminary idea of \u200b\u200ba person or event, the photographer "offers the reader to see the news with his eyes." The photographer operates with visual accents: the expression of the face, eyes, hands in the portrait; unusual angles, emotionality of natural phenomena in the landscape; Acts, feelings, emotions, features of the nature and behavior of a person in genre pictures; focus on fragments of photography, the development of the plot, detailing or, on the contrary, the general view of the place of the event, panorama; The composition of several objects constituting the essence of the material. For example, a portrait can be a reportage, and may be studio, and its role in the publication, the reader's perception is different, although the object of shooting may be the same. The main feature of the visualization is that it becomes a full-fledged media, reports an event similar to the text. Thus, images are not only an element of external form, but also content. Thanks to the clarity, the visual image affects the recipient, and when combined with the text, the image specifies, enhances the content, directs in the desired direction, clearly comments or gives a certain shade.

The character of the display affects perception, attracts attention, content content provides a need for information. Symbols, as a form of visualization, become identifiers in the political space. Figures specify, emphasize the author's vision of the problem. Infographics comprehensively and clearly demonstrates difficult to understand the data, mostly digital. Photos make it possible to become an accomplice of events, make your own conclusions from what have seen. The whole complex of visual forms is a single composite integer.

List of quoted literature: 1. Arnheim R. Art and visual perception / per. In English V.N. Selfish. General editors and East. Art. V.P. Shestakova. M., 1974 2. Bart R. Selected Works. Semiotics. Poetics. M., 1994 3. Zenkova A.Yu. Visual studies as an integral area of \u200b\u200bsocio-humanitarian knowledge // Scientific. Yearbook of the Institute of Philosophy and the Rights of the Ural Ros. Acad. science Yekaterinburg, 2005. Vol. 5. P. 184-193. [Electronic resource]. - URL: http: // www.ifp.uan.ru/files/publ/eshegodnik/2004/9.pdf (date of handling: 05/15/2017) 4. Kolodii V.V. Visuality as a phenomenon and its impact on social cognition and social practices: author. dis. ... Cand. philosopher. science Tomsk, 2011. 152 p. 5. Krokkin V.L. Pierre Burdje: photograph as a means and index of social integration // Bulletin of the University of Udmurt University, 2006. №3. [Electronic resource]. - URL: http://barista.photographer.ru/cult/theory/5270.htm (date of handling: 05/15/2017) 6. Underpowder P. Introduction to visual sociology. Theoretical discourses and discussions. M.: HSE, 2006. - 210 c. 7. Underpowder P. Visual sociology. Photography as a research method: Tutorial. M.: Logos, 2007. - 168 c. 8. Becker H.S. Photography and sociology // Studies in the Anthropology of Visual Communication. 1974. No. 1. P. 3-26 9. GOFFMAN E. GENDER ADVERTISEMENTS. Cambridge: Harvard University Press, 1979.94 p.

P. 28-42.

Sociological understanding of the image is constructed in such a way that the hermeneutic and semiotic means to decipher the content of social values \u200b\u200band meanings in their visual symbolism. The image of an understanding of the image must be adequate to its subject, which is characterized by the display, on the other hand, with another, meaningful message. The display is the reproduction of this, but the arbitrary representation mechanism can hide the ideological promise, which gives the duality of the image. Symbolically materialized representations are investigated by sociology as part of a representative system, an interpretative order of society. The method of interpretation of the image is based according to the logic of the picture and may be similar to sequential analysis in objective hermeneutics.

Methodical approach to the analysis of the image consists of three phases: descriptionsvisible data separation of them on structural elements in relationships and search values \u200b\u200bof interconnection of text and image In a specific socio-historical context. Three phases of the interpretation phases correspond to this phase phase: 1) a handicraft, verbal paraphrazation of textual and visual sending, 2) Acribic reconstruction, analysis of the values \u200b\u200bof the symbolic content of textual and fine materials and 3) socio-cultural interpretation.

Razumovskaya T. A. Journal of Sociology and Social Anthropology. 2010. T. 13. No. 1. P. 205-211.

The article is the experience of consideration of theoretical and methodological problems of visual anthropology on the material collection of articles Visual anthropology: setting optics. An area of \u200b\u200bmodern visual anthropology is analyzed, which includes the interpretation of visual artifacts as cultural phenomena, analysis of the contexts of their production and use, as well as the study of social life using visual methods. Who owns the right to interpret the image - its creator or the audience? What can people speak photos and things? The authors of this book are discussing existing rules, contexts and opportunities to apply visual methods in professional practice, encouraging critical reflection and ethical understanding, deconcing images of a popular media discourse and working with memory and emotions, affecting reality and overcoming the current convention. Anthropologists, sociologists, cultivologists, all those who are interested in the possibilities and principles of visual research of culture and society.

Under scientific Editors: F. Liechtenhan. P.: Pups, 2011.

The collection of articles is devoted to the activities of an outstanding French historian E. Le Roa Ladyuri. The various aspects of its multifaceted creativity are analyzed: historical anthropology, climate history, cliometry, economic history, history of the peasantry, visual anthropology, etc., as well as the peculiarities of the perception of his works by the scientific community of various countries.

The first attempts to apply visual research methods in sociology and anthropology were associated with attempts to stop the time, to fix it in memory of the seen, maintain the ephemeral and disappearing. A classic anthropologist, using visual funds, was engaged in studying removed in the space and the time of peoples, culture, lifestyle of various communities. This most important task remains on the agenda and so far: visual anthropology, developing currently within the framework of the domestic ethnographic tradition, has its task to study the audiovisual heritage of world and domestic ethnography, fixing the modern life of peoples, studying visual forms of cultures and the creation of audiovisual archives. But the region of modern visual anthropology expands, today it is, on the one hand, the interpretation of visual artifacts as cultural phenomena, analysis of the contexts of their production and use, and on the other hand, the study of social life with the use of visual methods. Visual methods and sources play an increasingly significant role in science, education, social practice. They launch new routes to understand the past, constantly changing in the history of the definitions of social relations, ways to design and solve social problems. This book continues the publishing initiative of the Center for Social Policy and Gender Research on visual analysis and is one of the three issues prepared as part of the project visual representations of social reality: ideology and everyday life "with the support of the John D. Foundation and Catherine T. Makarturov in 2008-2009 years.

In the article "The visual anthropology of the empire, or" see Russian not everyone "" "The author describes the artistic projects of ethnic distinction in Russia the second half of the XVIII century. The object of the study is samples of the costume genre of domestic graphics. Elena Vishangenkova explores the album of Engravir A. Delstein, drawings and sketches of participants in expeditions, engraving J. Leprens, illustrated magazine H. Rota and research on the peoples of Russia I. Georgi. Analyzing the illustrations and drawings as a single visual text, the author establishes the relationship between visual images, cultural worldview, artistic conventions, the ethnographic knowledge of contemporaries, as well as the intentions of the supreme power to create an ideal subject subject for the Empire. As a result, Elena Vishangenkova identifies the strategy of typing and generalizations, which was used by draftsmen, intending to show the peoples of Russia. The author believes that thanks to artistic commercial reproduction (tea tableware with ethnographic plots in painting, sculptural miniature, toys, robust and cheap engravings) These visual images entered the mass consciousness and became a means of identifying the "real" Russians, Chuvash, Finns, Kalmykov, and T ..

The situation of competition for citizen as a tendency of modern society is considered. The results of empirical studies of invisible state identity, made using visual sociology methods, are presented.

M.: Option, 2009.

The region of modern visual anthropology includes the interpretation of visual artifacts as cultural phenomena, analysis of the contexts of their production and use, as well as the study of social life using visual methods. Who owns the right to interpret the image - its creator or the audience? What can people speak photos and things? The authors of the articles of the book discuss existing rules, contexts and opportunities to apply visual methods in professional practice, encouraging critical reflection and ethical understanding, deconcing images of a popular media discourse and working with memory and emotions, affecting reality and subjecting the current convention. Anthropologists, sociologists, cultivologists, all those who are interested in the possibilities and principles of visual research of culture and society.

Yarska-Smirnova E. R., Voron M. A., Karpova G. G. In the book: Visual anthropology: urban memory cards. M.: Option, 2009. P. 294-309.

American anthropologist Margaret Foreign Ministry justifies typology of cultures, depending on the method of continuity of generations - the postfiguration, she calls culture, where this connection is very close, children learn from their ancestors and, growing, completely repeat their life path; In configuration culture and children, and adults learn from peers, and in prefiguration - adults learn from their descendants. Speed \u200b\u200band meaningful characteristics of mature in most countries of the world have changed significantly over the past 150 years. The childhood and stage, the stages of the life of a person, and the methods of cultural continuity underwent a serious and rapid modification. And if the inevitability of the inter-floor relationship was the main postulate of Soviet childhood, along with the priority of labor education and the authority of adults, then these semantic codes have lost their former strength. The stage of configuration culture came, and new generations were no longer focused on their lively choices on the elders. It was associated with the growth of the consumption society, the spread of urban cultural styles that contributed to the looping of the matrix of sustainable characters and their meanings. Over the past two dozen years, the installation of Russians is generally very quickly and sharply transformed, including regarding childhood. According to most of the Russians, "Childhood" ends at the turn of 15-16 years, after which the "adult life" begins, but the desire to quickly grow today has become not dominant, as at the beginning of the nineties, but a subordinate feeling; The first place was the experience of children's happiness. So what happens - the duration of childhood is growing, or in other words, the psychological age of a modern person is reduced? This happens, apparently, under certain conditions, and not all. Our question in this article is just as considered adult qualities, and what - children's who give these definitions and why. In an attempt to answer him, we decided to analyze discourses and visual funds, producing and modifying the ideas of "childishness" and "childish adulthood."

M.: Option, 2009.

"City Memory Cards" represent the possibility of historical excursions and cognitive reconstruction of everyday experience. This book has become a continuation of the Publishing Initiative of the Center for Social Policy and Gender Research in the Visual Analysis. The authors appeal to the study of the symbolic organization of urban space, applying the methodology of mapping the urban environment, study the ways of perception and development of people of urban contexts, interpret representations in mass culture and discourse on city travel, discussing the outlines of cities that are changing under the influence of social and cultural policies. Persistently peering into the urban areas and worlds, researchers pay attention to a variety of vital styles, consider their social organization and cultural practices in the dynamics of global and local, in the conditions of constantly updated communication technologies. The publication is addressed to anthropologists, sociologists, cultivologists, all those who are interested in the possibilities and principles of visual research of culture and society.

The publication was prepared with the support of the John D. and Catherine T. Makarturov Foundation

Researchers of different generations, the city was represented by the epicenter of our time, the place, filled with the history of people's lives, the focus of social communications, where public and intimate is mixed, and the time is subject to the unified rhythm of high-speed public regimes - transport, industrial, information. City Anthropology examines these diverse meanings and practices, social organization of small urban communities and larger institutional authorities, various types of social relations and forms of urban social life in cultural and historical contexts, social problems associated with crime, social unrest, inequality, homelessness. City visual anthropology is a step into a labyrinth of a living kaleidoscopic texture of social practices with deceptively familiar and ever-changing styles, opportunities and borders, their images, and hidden in the structure of consumption, in the status hierarchy of urban space. "Urban Memory Cards" represent the reader the possibility of historical excursions and the cognitive reconstruction of everyday experience in studies of the symbolic organization of urban space, ways to perceive and develop people of urban contexts, the outlines of cities varying under the influence of politics, using the city environment mapping methodology, analyzing representations in mass culture and discourses about urban travel.

Semin M. V., Ganzha A. O. Journal of Sociology and Social Anthropology. 2008. T. XI. # 2.S. 153-167.

The article is devoted to the methodological and methodological aspects of teaching visual sociology. Generalized the experience of two teachers from the State University of Higher School of Economics and the Sociological Faculty of Moscow State University. Two different approaches to the teaching of visual sociology in these universities are given: the first is based on the combination of sociology and photography, the second - on the development of sociological imagination using the method of enabled visual observation.

Clio, The Muse of History, Is Now A Liberated Woman "
(S.R. Johansson)

Women should write their body
(H. Cixous)

History Does Not Break Down Into Stories But Into Images.
(W.Benjamin)

What is a gender story?

I will take the courage to say that for many of us it is still not entirely clear, in which methodological context should discuss the problems of gender history - whether we are talking about a special direction that has formed in the depths of historiography (in synthesis with its modern forms as Oral history or semiotics of history or meticore) or gender history is an attempt to be a feminist paradigm to establish as part of academic discourse? If we consider gender history as a legitimate result of the epistemological coup, "the natural" manographically established on the ruins of positivistic historiography, then in this case, we must relate its results and research methods with the entire combination of those problems that modern historical science suffer from the times of block and February : What is the difference between fact and fiction, and therefore, there is a large opportunity to distinguish the history of both science and history as literature (art of narration), what is a historical "document", what are the relationship between reality and narration, between official written history and informal Oral, or rather, between history and stories, between written sources and visual, not to mention the large number of more specific problems associated with specific source analysis procedures. If we perceive gender history in the general context of the evolution of feminism, then the main problem here is, rather, the assessment of the role and those results that gender has brought the feminist movement.

Feminism played the role of a peculiar epistemological catalyst, which made its contribution to the recognition of the mechanisms of power, the exception, suppression, marginalization of certain discourses within the historical knowledge, which unfolded in the shadow of the principles of "scientific objectivity", feasibility and historical progress. Is it possible to describe the relationship between gender studies (together with feminism as the main ideology) and historiography as a distinction between the politically engaged and not hiding this theory and other theory, which believes in its own neutrality and ideological innocence? The challenge that gender story threw traditional historiography is that the "eternal and non-historical woman" was rejected, which was studied and rethought the opposition "Private-public", which were contextualized differences in the elicration of historical entities gene (D). The peculiarity of this area of \u200b\u200bresearch is its openness, the ability to incorporate achievements of other disciplines (anthropology, linguistics, philosophy), and combine empirical and theoretical studies that traditional historiography is not always possible. Penelope Caffild notes that the gender story ("holistic history") is constantly transformed (it is impossible to reproach in static or conservatism), overcoming linguistic barriers of misunderstanding both within the actual historical discipline and in a wider humanitarian environment. It is more difficult to answer the question of whether the gender history claims to create new epistemology. If so, then what it is expressed: in a new thought tool, the style of thinking, new techniques of analysis or, maybe, in a different way to communicate your ideas?

Most likely, gender history personifies the rare case when the "happy marriage" metaphor is quite appropriate (in any case, more appropriate than the presentation of the reproach in the methodological promiscuity), it is not by chance that questions I am going to discuss further could arise If there was no alliance with other disciplines and subject fields. What interests me in the framework of this article is the specific relationships that began to develop relatively recently between history, gender theory and study of visual culture. And this interest is connected just with the definition of a general epistemological frame of gender history: if we really look forward to the creation of a relatively autonomous and original model of knowledge, then it is important in this case the question of the implementation and representation of this model, about the method, which new ideas and other thinking Installations will be expressed and broadcast by others. The problem of selecting communication language here turns out to be paramount: new content requires a new form. It is not enough to proclaim the disclaimer from the phallinate system of thinking or to declare the need to give a woman as a subject of history "voice" and "look", you need to somehow implement it in practice, but how? Natural - in the spirit of feminist criticism - a gesture would be creating and concerned about the corresponding special logic of thinking of the letter of the letter - l "Ecriture Feminine , However, in this case, the very concept letters It turns out to be discredited in several senses: first, it implies the need to use the verbal language, the implicit sexism of the formal structures and the zooms of which suppresses inactivity; Secondly, it is a letter (not in a barot sense - as the sphere of freedom and game, but in the most literal and lying on the surface of the denotative meaning of a written language) responsibly for the process of displacing a woman from the sphere of the historical process; Thirdly, a gender story is a genre of an academic letter, which is repressed itself and repress anyone who comes into its territory and turns out to be a sense of tradition. Hidden threat written Language as a legitimate tool of power and suppression from the dominant floor is always felt by feminist theorists. The fact that in gender historiography oral history has gained its authentic "house", it can be interpreted in this way, as if the voice is able to avoid repression from Letters, similar to speaking The subject escapes from liability, power and launches. However, I. voice and letter - these are a system of representation of a verbal language; Does the use of them inevitable return to the LONO of phonocentrism, contrary to the optimism of Elene Six and the feminist hoping for the invention new rebellious letter, to gain his Speech, on "Creating Own Weapons against Altage Logos", for the revolution inside languagewith his male grammar? Is there an alternative to the binary opposition of voice-writing, if we are talking about the need for an adequate form of an expression of a feminist idea in history? Are we doomed to closer in the kingdom of the need for a verbal language? Could there be silent eloquent? ..

Prospects for gender history in the light of "visual turn" of modern humanitaristics: from verbal to visual.

Within the framework of historical anthropology, which refused in the privileged status of outdoor history as the history of structures, processes, greater events and great personalities (towering over a faceless crowd of historical statists), as part of the program to turn "back history" in the "History from the inside" method acquired a special meaning of the method " oral history. " The development of this method over the past twenty years has discovered its explicit advantages to create not only directions such as a family history or a local history (the history of everyday life in the most general sense of the word), but also served as the initial point for differentiation of gender historical history from the entire Historical Corps Research - both in terms of the constitution of its object, and in terms of creating its reputation in the academic world and beyond (awakening interest in the history of "those who did not write").

Among the "oral history" of Witnesses of "Big History" are playing a special role. On the one hand, it is well known that "a woman as a subject is absent in the men's history of the West": In the sense that women are usually rarely there, where decisions are made about war, peace and the like events of "big history", And in the fact that historical sources are fixed mainly by the male "look" on history. On the other hand, as noted by researchers, women for "oral history", indeed, privileged witnesses: since the traditional division of the world on the "male" (the world of politics, social life and socially significant) and "female" (the world of the house and family) is pretty Clearly appears in such studies, the idleness of testimony is also naturally naturally represented: men represent in their memoirs "social order", the world of proper and universal, while women are described in very emotional, sensual, personal, almost intimate colors, they Missing the events of the outside world through the filter of personal perception. The verbal nature of oral narration (as well as it is necessary for social character) is transformed in the visual field of women's view on history.

Metamorphosis "Speech vision"In the women's memory and the female perception of the world, as well as the problem of conjugation of historical narration (narration of the textual Par Excellence) with a visual area seem to me a very interesting research topic in the context of the discussions on gender history. "Speech vision" is the term Russian philosopher Mikhail Riklin. Its meaning, on the one hand, refers us to a specific cultural situation: So, the specifics of the Soviet culture of the Stalinist era of Rycklin sees in its preemptive orientation for the Word, on literature, on verbal discourse, and not visuality. The desire for a total verbalization of culture means the expansion of speech began on the area of \u200b\u200bconsciousness, realizes the desire for total consciousness (there is no "place unconscious in this culture") and at the same time the individual's non-election in this culture. In the concept of "speech vision", the possibility of individual self-consciousness is denied, for consciousness is doomed to be carried out by speech acts of another. In the context of the absolute de-view of Soviet culture, in the space of collective bodies "Speech vision" is a conductor of the type of rationality, on which power is based.

On the other hand, the problem of "speech vision" can be formulated much more widely, since the situation of individual vision - as "vision-to-speech" - it turns out to be impossible in principle: the question of the ratio of vision and textuality is one of the key topics of modern philosophy (from Hydegger And Merlot-Ponti to Derrid and delease). This is the vision that "does not see" or, more precisely, "does not see anyone separately," because it is subordinate to the Word, his authorities, his ability to generalize and totalization, it is subordinated to the logic of collective statement. Speech vision not visa: "Visual in the environment of literary", "Act of view can be carried out only through verbal ranks." Moreover, according to M.Ryklin, this is not some temporary state, but an ontologically inherent in the culture. Logo controls the image, assigns the meaning to him, finds and fixes the referent for him, imposing the image histruth. Is the emancipation of the "language" visual from the verbal language, is there true painting or photographic image outside the truth is discursive, it is possible to overcome the attraction of the power field of the speech culture and release the vision from the authority of the word, - these and other issues logically flow from the chosen by some theorists " visual turn».

V.J.T.Mitchell, one of theoretics of visual research, notes that in the last twenty-five years there has been a real coup in the humanitarian sciences associated with interest in learning visual culture in a broad sense. We are talking about the research of cinema, television, mass culture from the position of modern philosophical and social theories (including feminism), explaining the specifics of the "Society of the Speak", the concept of "Representation" and various cultural implications of audiovisual simulation technologies.

The paradoxical here is, perhaps, the fact that the impulse visual research gave a literary theory (Marxist and Neomarxist with Kai Criticism, "New Criticism", poststructuralism and deconstruction), denoting the borders of verbal in understanding non-leaturated phenomena. Visual reality (including automated visual perception in everyday life) appeared as a cultural construct due to this "reading" and interpretation to the same extent that literary text is given in this procedure. Visuality ceased to be perceived as a secondary or subordinate measurement of cultural practice. Experts in the field of classical art, traditionally usurped the right to interpret visual representations, gave way to a new wave of theorists defending another type of professional competence based on an interdisciplinary approach to the study of visual culture in all its diverse manifestations. It became obvious that visual arts (they are - the means of communication) are not the property of the caste of historians of art or specialists in the field of media. It turned out the same way that the Western European Convention of Visual Representation is not universal. The study of visuality in a broad sense should include an analysis of non-European cultural practices of vision, technologies and conventions of visual representation and artistic picture. Is it worth saying that this approach to a certain extent contradicts the idea of \u200b\u200bour culture as based on the primacy of written texts. This should not be forgotten that the letter and printed communication are based on visual media; Our speech is often accompanied by means of visual communication (gestures, facial exp. That is, not only visual needs verbal support, but also verbal communication needs from its part in visual mediation.

It is significant that one of the first humanitarian disciplines that realized the need to understand our existence-in-world-visual culture was philosophy - the sphere of pure logo and invisible entities. Moreover, the philosophical analysis of the prerequisites and conditions of the process of thinking, the phenomenon of consciousness, memory mechanisms and memorization, the formation of subjectivity, the automatons of perception was initially based on the data of visual experience and operated on with visual categories: "Picture of the world, "" space "," form "," Images consciousness "," Imagination "," Intellectual Contemplation "," Molding ", etc. These philosophical metaphors seem to be "homeless" in the world of philosophical abstractions: most often their visual status is not taken into account, they are used as rhetorical turnover, having an illustrative value for the knowledge of the "invisible" truth. However, to the original visuality of the Western philosophical tradition, it can be expelled and somewhat different: it can be interpreted as evidence of the rooting of visual culture in the logo-center discourse of metaphysics.

The key issues for the theorists of visual culture were and remains of whether visual images are conducted by the conductors of a non-verbalized meaning whether they can be surprised by other than the language, means, whether linguistic mediation is obligatory to express our visual experience, is the autonomist, finally, Verbal language towards the verbal language? What is "image", are you all the need for visual? How does an image of consciousness, in memory, in imagination and fantasy? What is the ratio of art and other forms of visual culture? What remains in visual culture minus verbalizable information (and what kind of properties is it)? To what extent the development of visual technologies affects the essence of visual practices?

In the context of this article, this is a slight digression that clarifies the meaning of "visual turn", but so far no commenting effects of such for the development of historiography as a whole and gender historiography in particular, it is necessary to exist, because it performs the function of propaedeutics to the essence of the issue under discussion: should the gender history consider "Visual turn", if so, how can new trends affect its methodology and problematics and what benefit gender theory can be extracted from such a "union"?

It would be appropriate here to remember the above statement of Walter Benjamin: "The story is not disintegrating on the history (stories), but for images." What did Walter Benjamin mean and what's the point of this phrase acquires in the context of the discussion about gender history? Does he remind us that the memory is visual in essence, by definition, and the memorization mechanism is independence from sexual or ethnic and even more class affiliation - involves operating images? Or is the meaning of this phrase consists in constitution of the gap, a gap, contradictions between verbal and visual measurements of historical narration? It is possible that Benjamin, one of the prophets of the modern paradigm of visual research, reflected on the suggestive mechanism for the impact of cinematic and other visual images to the consciousness of the audience, generating the effect in their memories deja Vu., convincing in reality that they personally did not see and could not see, replacing their personal experience and knowledge of the experience of fictitious (as it happened with the Soviet people who believed in the reality of the assault on the Winter Palace thanks to the film Eisenstein). Or maybe we could reflect on the specifics of female memory, the specific visuality of which is in opposition to the mechanisms of "male memory", operating, rather, abstract categories of "due" and binding not on seen with his own eyes, but rather, on the heard or seen in someone else's mediation? And which thus embraces from under the authorities "speech vision" ...

Traditional historiography and visual media: Is there an alternative to written history?

Postulation of the need to combine visual and verbal methods and writing means is often perceived as desirable, but in the general it is an optional condition for the historian. Discussion about how Historiography can use visual materials, still not found its final permission, and it is hardly possible in principle: on the one hand, the story has been and remains written (both in the way of writing, that is, fixation of the actual data and the type of narration and the specificity of the actual data sources used - books, archival documents, etc.), and on the other, the functions and importance of visual media are constantly increasing (moreover, their number turns out to include an increasing number of forms of communication based on the use of the image - the photo, photography Television, cinema, internet). The very idea that the story can be "visual" seems too utopian or too radical. The whole thing, however, is exactly what is meant by the "visual history" and on which methods it relies.

In my opinion, this term has several values. First of all, we are talking about wider involvement sourcesother than written documents. At the same time, the concept of "document" with the need must be revised, as well as ways of its interpretation. In this case, the film or photo can be considered on a par with written documents as reliable sources for historical analysis (although methods for establishing their reliability are fundamentally different). In addition, not only the chronicles or documentaries can be included in the circle of sources used: under certain conditions and at certain boundaries, it may also be artistic films, animation films and other types and genres of under-sub-cinema movies. The whole question is only how to make the film say more than "he meant." Perhaps the most serious problem is here analytical model , Developing a film use methodology for historical research. Historians who have been engaged in this problem for several decades, a number of principles constituting were developed epistemological nucleusthe desired model of analysis:

From the point of view of gender history it should be noted that with all the "doubt" of the use of visual culture as a source - It is due to the autonomy of the visual language, the unconscious intentions of the visual text (which is pronouncing what society is preferred to be silent, and the psychoanalyst then has to decipher) and its lower censorship (from the authority) visual media and visual arts sometimes provide more information for historians reflection Than written documents in which Lakun is much more - at least in terms of the representation of women in history. Moreover, written sources extremely rarely fix the point of view of the "silent majority": women, unfortunately, are included in this "most". In this sense, a special theoretical problem is the study of the historical film reception, including those receptive installations in relation to the reality representative on the screen, which were inherent in visitor women and in the modern period, and at a time when one or another film was released on screens. The study of the historical perception of the film is useful both in terms of understanding the relationship of a filmotext with his audience ("Private" problem of movie theory) and in terms of analyzing the mental plants of various social groups that differ in class, ethnic and sexual signs (the problem of historical research).

Secondly, the story may be "visual" in the sense that the main way of recording, storing and communicating historical knowledgethere may be visual media, Whether it is a movie, floppy disk, web-protection or CD-ROM, and not printed text. That is, it is not about "abolition" (if it could have been thought of writing a written story or a refusal of a verbal language as a means of communication, transfer of historical knowledge, and about combination and synthesis verbal means and visual in more active forms.

It would be useful to bring the point of view of Marco Ferro - French historian here, a lot of historical research for the development of a new direction. Defending the need for "visual history", he determines its place in a number of other "stories". There are: 1) a common story, or the historical version of the past, adopted as a "official history" - the one that is studied in schools and educational institutions); , History-Memory - or oral history, experimental history and fiction history. Each of these types of historical knowledge corresponds to their own methods of narration: principles of composition, classification of facts and event sequences: chronology, logical communication, aesthetics. In addition, they differ in the functions performed by them in society: the history of memory performs a function identification, total (official history) - function legitimationauthorities and social institutions, experimental history - analytical (or metatoretical), That is, the function of reflection over the methodology and epistemological packages of history, history-fiction - creative. Mark Ferro indicates that history-fiction is a feature form of experimental history. In this row, "visual history" performs the functions of the last two types of historical knowledge - it is both the laboratory of experimental history, and the refuge of the story-fictionwithout entering the obvious conflict with two other historical paradigms.

Negative response of professional historians to use visual media as methods writing Stories are related to the fact that in the minds of most of us television or cinema are associated with a mass culture, with an entertainment industry, at best with the enlightestation or popularization of anticipation somewhere in inom(Sacral) Place of production of scientific ideas and knowledge. In some cases, the cinematic or television version of a event seems unacceptable due to the fact that the visualization leads to a certain aesthetization of the event being shown. It's not just that the "game film" creates its own reality and thus "distorts" the reality is genuine (which, by the way, constantly eludes and ultimately unattainable as such). This problem acquires ethical dimension: Aesthetization (as an inevitable consequence of translation in the film form) of traumatic experience is invalid for reasons of morality. In any case, the underestimation of these audiovisual communications tools is based on distrust To the image as a means of transmission of meaning and as a means of communication, allegedly not adapted to express a complex thought or necessarily a removal meaning to visual evidence].

Meanwhile, the "visual history" has a lot of advantages over the written history, especially in the light of recent discussions on what historiography of the postmodern era should be, what language is able to transfer "polyphony of discourses" (The principled requirement of postmodernist history): These ideas correspond to first of all the multiplicity of communication channels used by visual media (voice, writing text on the screen - titers, music, noises, image). Cinema and television has its own specific means of expression, coloring and complicating banal monologues about events: this flash-back - receiving retrospection facilitating the switching from the register of this in the Modeus of the past and visualizing the memory of a storyteller or storytellers for his / her listeners; Close-up, enhancing the feeling of intimacy and voting penetration (in this advantage of the movie before the oral history, not to mention the history of writing); Parallel and cross-sectional installations in addition to aesthetic expressiveness reaches a greater emotional effect on the impact on the audience, offering the impression of synchronicity and simultaneity of what is happening instead of linearly consistent narration. For gender history, these factors are of particular importance: it is precisely with the help of formal means of television or cinema - by sight or voices, or both together, plus music and the image as such - it is possible to more fully and adequately express the female "point of view" on Talked events.

Nowadays, perhaps, not so much cinema, how many Internet with all its capabilities is the most promising way of writing Stories:or we can try to look into the past with many different sources that give us a stereoscopic vision of a certain event (possibly due to the Internet BUT rhiv will be simply an archive, losing the "Sanctuary" aura and acquiring an open character); Either we can, minimizing the efforts to search for documents, use hypertext opportunities of the latest information technologies and get a lot of "options" and historical versions in texts and pictures, presenting them in nonlinear installation.

Thirdly, another direction of research in the framework of "visual history" may be visual nature of historical memory. In this sense, various analogies are possible between visual media and the mechanism of our memory about the events of the past: the selectivity of memory (for example, witnesses and participants of any ambitious historical events) is comparable to the principle of assembly thinking in cinema; and memory and media are "write" or data storage, very often acting on the principle palimpsiest - recording fresh impressions on top of the already written text; And memory, and the media reconstruct the past, actively creating it. In relations with our past, visual sources play a special role, "replacing" past, visualizing it, while the public history representative by cinema prevails over individual memory. Therefore, a separate conversation deserves the designated slightly above the topic. visualization, or indirection images, historical memory In the modern era (in the same way as the topic of conjugation of individual and collective memory, mediated by visual "memories") - in the era, when most of our knowledge of history is formed thanks to the "already seen" to the cinema, on television or pictures; The story is filtered in those images and pictures that modern people are absorbed from the visual practices of everyday life (our knowledge about the Great Patriotic War is largely based on the films of the Soviet directories dedicated to this topic).

H.Uuit is asked whether the cinema is not a special type or analogue "Historical Thinking": It obeys the same arms of the narrative that any other textual way of expressing thought, that is, it needs a plot, connectivity, streamlining and hierarchy of events, searching for meaning, completion, chronological sequence, and even outcut or moral judgment. As well as "Historical Thinking", the film discourse is a metonimic (by type of syneco), representing a part instead of a whole in the representation of something. Just like historical thinking, thinking through the cinema suffers from the impossibility of distinguish between times and forever the fact and fiction, reality and imaginary, life and "literature".

In a sense, cinema is a microweller (or metaphor) of our relationship to the past: according to Bodrieryar, "History is our lost referent, that is our myth." In the process of "knowledge" of history, fetishization of the past occurs. The unrecognizability of history as a realization of the fact of the loss of referents leads to injury, comparable to the child's detection of sexes. Cinema personifies and feeds our nostalgia for a lost reference. In the "real", as in the movie, the story was, but it is no longer. The story of which we have today has no more attitude towards "historical reality" than modern painting to the classic image of reality. I would like to simply note that the problem non-re-presentability The past by cinema, on the one hand, can be understood as the impossibility of representation of something that, in principle, unheardly indicable (for example, the Holocaust, which he often says that as an event, he eludes a representative, while at the same time needing to be the subject of historical consideration ), and on the other hand, it can be about representation limits, assigned or denoted by the nature of cinematic narration.

Such, in our opinion, the problems that are designed to decide and is already solving a "visual history". Applying a similar strategy of research in gender history would explore the status and role of women in one or another historical era in all the variety of ways to represent women's experience and mental plants in their entirety of their contradictory, reveal the specifics of the presentation of the woman in the depths of the collective unconscious (patriarchal) society, Conduct a comparative analysis of visual representations of men and women of one or another era. The following should be the analysis of the film that sends us to a specific historical situation, where some of the provisions expressed earlier will find their empirical use.

"Third Meshchanskaya": "female", "apartment" and other issues of the history of the Stalin period of the 20th year.

Soviet cinema 1920s. It was and remains one of the most interesting phenomena in the history of the movie. This period is marked by the formation of the Soviet cinematic school, the tradition of formalistic cinema, theory and installation practices, etc. In addition to the work on the analysis of the aesthetic, stylistic, narrative conventions of this cinema, in recent decades, studies have also appeared, in the focus of which the same object - that is, the Soviet Cinema of the 1920s., However, the study of research does not boil or is not limited to the history and history and Cinema theory. A number of historians (French, first of all) were attempted to study the documentary value of films of this period in order to expand the source database of the historiography of the Soviet period. As part of the feminist cinema, this phenomenon is investigated from the point of view of the representation of a woman in this form of art and in this cultural and historical period, or wider - in the light of the ideology of the representation of gender relations on the screen, while the studied films are placed in the context of social realities and political theories soviet model gender .

So, one of the most frequently discussed feminist theorist problems is the problem of a special configuration. social and private spaces in the life of the Soviet manwhich is directly related to the solution of the solution " female question"Who offered the Soviet power. The marginality of "private space" in the Stalin Cinema - in the sense of its visual and narrative lack of a film - reflects decades the folded negative attitude of the Soviet person and the state as a whole to the field of life as a non-fermented, disordered, non-lubricate and backward (although the Soviet state Repeatedly made attempts to regulate this sphere of social relations).

One of the few films taken in the 20s, which was entirely dedicated to this topic - the topic of the everyday private life of Soviet people and women, first of all, became the film "Third Meshchanskaya" (or "Life in Threesomes" A. Roma (1927 ) Our appeal Here to this film is primarily connected with an attempt to clarify the question of visual text as a source and method of writing history. Accordingly, the main meaning of the analysis undertakes here is to show the multigid of the visual text and the multivalous interpretation, to justify the possibility of attracting An artistic film to a historical study (that is, show how the "game film" can act as a historical document) and, finally, in general, to designate that aware of cinema research, which can bring the well-known benefit of gender history.

In one film, a whole palette of complex shades of the "female" question is presented against the background of the "apartment" question, the themes of industrialization, urbanization, etc. Here are just some of the problems affected in the film - a monogamous family, love and marriage, an adulter, everyday sexism, quasimenssipation, women's autonomy outside and within the framework of the family institution, abortion. This film is often regarded as the "classic" of Soviet cinema 20 years. - In the sense that it corresponds to the conventions of the formalist cinema already established by this time with its complex narration, technicians and principles of installation, plot preferences and canons of futuristic-utopian representation of Soviet life. In this film, the installation is actively involved in the study of those complex relationships that make up between a woman and two men living in the same apartment, in addition, it is the installation that emphasizes the dichotomy of the public (social) and private space of Soviet people.

In the string of the film we see the "simple Soviet family" living in the same room. The husband works at a construction site, the wife is engaged in household. Kohl's husband goes with Lyudmila as a second-grade man. Volodya, the guest and the friend he leads to himself to live, on the contrary, turns to her as with equal - at least at first. When Lyudmila's legitimate husband leaves for a business trip, Volodya seeks her reciprocity and they begin to live together. The return of her husband scares Lyudmila, Volodya is solved with him. The explanation is violent, however, it does not violate the usual way of "threesome life", just as it does not change anything in the friendly relations of both men. Lyudmila does not change his social status of his wife and domestic servants throughout the film, despite all the peripetics of her intimate relationships with both men. Instead of one owner, it appears two, the burden of domestic work is not only not reduced, but also intensifies, just as the closure in the space of a close apartment is aggravated - private space and family. "The threesome life", whatever unusual it seems to be a stranger, nothing in essence changes in Lyudmila's life. When it turns out that it is pregnant, both of her "husband" insist on abortion. Lyudmila initially agrees, but at the last moment it changed his mind and radically changes everything in his life: she decides to give birth to a child, leave both men and leaves with the intention to start a new life.

First of all, the "Third Meshchanskaya" unequivocally refers to his viewer to the housing problem, with which all the largest Soviet cities in the 20-30s faced. Nevertheless, the Threesome Life can be perceived as a timeless situation that does not have a direct attitude towards the economic and political situation in the USSR. However, such a timelessness is characteristic not only and not so much for melodramatic peripetias of the love triangle, rather, we are talking about the ideology of the female destination - in this sense, the revolution and created by it "New Life" actually reproduced the typical circumstances of the woman's life, closed in their home duty. In this regard, the formulation of the problem and the method proposed in the final method of its decision was meant for the audience of the 1920s. An attempt to break this vicious circle and designate a new life perspective for a Soviet woman.

Lyudmila, from the very beginning of the film, personifies the sphere of life, private space, a variety of roles - wives, mistresses and even Mother (in relation to both men, Lyudmila occupies the mother position) - this is the limited variety of roles that the woman traditionally came around. Both her husband-lover equally enjoy the advantages of the "threesome life". Thus, they not only support male domination both in the sphere of social production, as well as life, but also strengthen the idea of \u200b\u200bmale friendship, in relation to which love for a woman has always been considered as something minor.

The main substantive opposition of the film - private / social spaces - at the level of the film form, as Judith Maine notes, translates into opposition dynamic static, as well as light dark. So, men as active agents participating in social life are associated with the movement: movement of the train, construction crane, public transport, etc. Moreover, the installation as the main method of mobilization of the film space is also used mainly to design the world in which Kolya and Volodya live and work (it is enough to recall, for example, about the scene of breakfast if the construction site on the background of the Bolshoi Theater); The "world" of Lyudmila, limited to a close half-walled room, is not lowered and is not dynamic in essence. Illusory output to the social space connecting Lyudmila with urban life is the window: the only form of activity of Lyudmila is its visual "activity", monitoring the outside world from its window. It should be noted immediately that the "window" in the life of Lyudmila, as, however, in the structure of the film, does not even have a hundredth of the value of the value that the "window into the courtyard" acquires in the film of Alfred Hichkok - voyeuristic fantasy Lyudmila, if so Could exist, remain closed to us. In general, the image of the thoughts and feelings of Lyudmila remain closed for the viewer "thanks to" those narrative phocalization techniques that are involved here; We are all the time on the narrative surface; An exception is only a scene with a playing child in the courtyard of the hospital, where Lyudmila came to make an abortion. However, immediately after her departure in the sandbox, a second child appears, which gives us good reason to believe that the focus of narration has shifted again. Perhaps this one, one of the few, the moments of the audience identifying the viewer with the only female character of the film, plays the role of an emotional catalyst.

It is curious that Lyudmila's interest in Volodya is primarily connected by interest in this external world. Volodya turns out to be the intermediary who introduces it to this world: he brings to her newspapers, puts the radio, invites to the cinema and even arranges the flight at the airplane, from whom Lyudmile opens a new perspective - the prospect of life in this huge city that extends overboard. Lyudmila still occupies his usual position of the "observer" (and in the scene of the rapid explanation of Volodya and Kolya, and in the scenes of the evening pastime of men behind games or conversations), but in this part of the film it is planned to go to another - dynamic, active -state. The mechanism of mediation of basic social oppositions and the rules for the translation of the language of ideology into the language of the film play an extremely important role to understand the specifics of the medium (cinematic "apparatus"), since it is soon talking about attracting cinema to historical research.

How can this film serve as a historical document reflecting the position of a woman in the Soviet Society of the 20th Gg., As well as the state ideology regarding the "female issue"? The myth of the emancipation of a woman under Soviet power is largely obliged to the Soviet cinema, which has created the most significant iconographic images illustrating this and many other myths. Ambivalence, troubled this issue, about which and now there are still a lot of discussions, fully reflected by the film "Third Meshchanskaya". On the one hand, the film inspires us the idea that Lyudmila's decision to leave the child and start working - this is an unconditional alternative to the patriarchal order, which is protected within the house of Volodya and Kolya. The film really reflects that the most serious problem with which the Soviet power faced with the "re-education" of its citizens - the field of life remained not only unsecured and forgotten, it remained the most conservative and closed to implement the revolutionary program for the reorganization of society (dichotomy of social and private "was decided" for The account of the elimination of private as such (communal apartments, hostels, friendly courts and in general - the total intervention of the state into the processes of regulating the sphere of personal and intimate). It would seem that the "bright finale" of the film approves the final victory of the state over the previous order, the victim and the tool of which was Lyudmila housewife: Her decision is the way of the emancipation of a woman who provided the Soviet government to many women, that is, it's about choosing a choice - to give birth to a child or make an abortion, stay at home or start working, continue to live in the fortress conditions of the patriarchal home or throw everything, Uhehaat L, live yourself. However, the "ideology of the spectacle" in the Soviet cinema is much more difficult, as well as the reality that it still reflected. In this regard, a special reflection deserves the fact that the new life of Lyudmila is certainly associated with the birth of a child and the abortion of the first encouragement.

What is the point, we have the right to deduct from a similar finale? As in previous times, before the revolution, the socialization of the woman here turns out to be inextricably linked to the exercise of the biological function - childbearing. Maternity was and remained in the way the way of entering the social space, as well as the form of specific female autonomy, which was traditionally sanctioned by the state (Soviet government is no exception in this sense). It would not be superfluous to recall the policy that the Soviet state was held in this direction: the ideology of motherhood should be considered in the context of the Soviet detention policy of the 20-30s.

Bolsheviks who came to power, contrary to expectations, did not destroy the institution of the family. On the contrary, the first decrees of Soviet power formally allowed many problems and externally could contribute to the temporary elimination of the confrontation of formal and informal standards of privacy ("On the dissolution of marriage", December 16, 1917; "On civil marriage", December 18, 1917, etc. ). Mid 20s. - This is the period of the greatest freedom of citizens regarding intimate life: divorces, abortions, civil marriages - all this was a reality, as well as early enters into sex life. For the first time in the history of Russia, abortions were legalized (1920): decrees of Soviet power on this issue in the 20s. The most progressive compared to all other countries, but the attitude towards them was still negative. However, by 1929 (the year of the "Great Framer") there is a different political situation that directly affected the "female question". The official norms of sexual and family life have been formed in the Soviet society. They boiled down to the following: the Soviet man should focus on a monogamous marriage, female sexuality could be implemented only by childbearing, a pea sexual life was considered immoral, deviating forms of sexual behavior were treated sharply. The state policy for abortions has become extremely tough: very soon abortions have become paid, and at the beginning of the 30s. And they were forbidden at all. The revolution in the field of life, proclaimed by the Bolsheviks, who he was herald with Alexander Kollondtai, ended.

The "Third Meshchanskaya" is the film most representative in this sense, sensitive all the contradictions of his era. Provided by law, the right of a woman on an abortion is solved by Lyudmila itself in favor of the birth of a child. Sexual freedom and the right to divorce turn in this film "Freedom" Lyudmila to change one "host" to another, and then on the third - the third owner can rightly consider the state: the care of Lyudmila from both husbands and the choice of child birth is support The politicians of the Soviet system regarding childbearing, the state needs new citizens - "Communism builders". As Alexander Kollondtai, "Maternity is not a private matter, and a social responsibility." By the way, despite the romantic connotations associated with the scenario of V. Shklovsky (I mean, first of all, the relations of the Mayakovsky and family BRIC), one of the possible ("displaced") sources of inspiration could well be Roman Alexandra Kollondtai "Vasilisa Malygin" ( 1923), the main heroine of which leaves at the end of the book with a future child in the commune: a communal dwelling and the collapse itself and many other contemporaries were considered as the only alternative to bourgeois everyday life with his dichotomous division for private and social space.

In addition, since the visual source program is coming soon, about the multiplicity of reading strategies that it suggests should be mentioned and other meanings that open to us in the process of close study and correlation of this film with multiple contexts of its interpretation. From the point of view of the actual cinematic tradition, this film had independent meaning: being one of the few films about the "personal" and "intimate", offering the audience forgotten Soviet cinema 20 years. Individual heroes (and not a mass as the only character), he, nevertheless, approves all the same pathos of the denial of the irrelevant cinema, which was characterized by both the films explicitly narrate on the revolution or about social transformations. It is well known that among many fundamentally rejected by the Soviet directors of the principles of cinema associated with them with cinema bourgeois (this applies to the choice of plots, and expand the boundaries of the "removable" plots, and the preferences of the mass of the hero, and the principles of installation, and the methods of the narrative) not last The question of the genre: melodrama was once and forever stamped as a genre bourgeois. Since the main sign of the melodrama was the presence of a "love triangle", the foreler of the Third Meshanskaya could be perceived as the bourgeois heritage of the melodramatic tradition. However, the final, the omission of the "love triangle", which the creators of the film offered, was fundamentally denied the system of visual expectations, turning to the Soviet parody of the melodrama.

The analysis presented here is not exhaustive in terms of the development of methods for using cinema for the purposes of historical research of gender relations. This is just one of the ways to work with the film - in this case, as with source. For the scene, many other problems of the "visual history" of Soviet society remained - including the status of an independent and very interesting problem claims forms of vision Soviet people and their politicization in cinema. For example, women in the Stalinist ideology were endowed with a special ability - the ability to "class vision", that is, the ability to see invisible - Recognize class enemy by special, just noticeable signs. This particular topic reveals a number of Soviet films of the 1930-40s. (Starting with the "party ticket", 1936). As for the visual history as a special type of historical letter, as a "parallel history", through which we could rethink our past - including in the gender perspective, then we still start up to its creation ...

• This text is an extended and recycled version of the report made by the author at the conference "from" History "to history: a gender approach to historical science in the countries of the transition period" (Minsk, September 1999). The article is written in the framework of the study performed on a grant Research Support Scheme # 292/1999.
• Corfield P.j. "History and the Challenge of Gender History", in Rethinking History., Vol.1, No.3, Winter 1997, P.245-246.
• Women's practice of writing cannot be subjected to theorization, classification, coding, it occupies those spaces that do not obey the philosophical-theoretical subordination. The female letter is available "Only those who destroy the automatism, who is on the periphery, and who does not worship any power" (Six E. Hochot Jellyfish // Gender research. № 3, 1999, p.78).
• Helen Six argues that there is " marked letter", That is, the practice of writing, managed by" libid cultural - that is, political, and, which means, a masculin - economy. " This is the space of the incessant suppression of a woman in which a woman never could afford to speak from himself. The writing woman ("female fugitive") was, rather, an exception in this giant car, which does not cancel the widespread opinion that "the writing woman will make a paper penis to himself", because the "act of Scripture is equivalent to masturbation" (see: Six E. ibid, p. 74 - 78).
• Six E. ibid, p.76.
• "History of everyday life" is sometimes interpreted as an alternative story, for instead of studying the state policy and the analysis of the global public structures, historians turned to the "Little Life Mirkov, to the everyday life of ordinary people" in search of "small alternatives", other value orientations, prospects for each individual person . (See More details: Obolenskaya S.V. "History of everyday life" in the historiography of the FRG "// Odyssey. A person in history. M., 1990, p.183 - 194).
• Here we can talk about the fact that the hierarchy of socially significant and personal, intimate in women is built out otherwise than in men, and that women are "crumbling" in a different "and interpret the world, not necessarily following the chronological framework and logic of binary oppositions (for example, the opposition "his enemy" does not always have the power in the behavior and mental settings of women in such an extreme situation as a war), and that the interference of someone else's speech (for example, presented in the media media) and its own experience in the memory of women and Men are carried out in different ways. As an example, explaining these and other differences in the memorization modes, it would be possible to bring the story of one Frenchwoman about that day and hour when she heard the news on the news about the beginning of World War II - "I just put a rabbit in the oven ..." ( Roche A., Taranger M.-C. Celles Qui N "ONT PAS ECRIT. Recits de Femmes Dans La Region Marseillaise 1914 - 1945. EDISUD, 1995, P.182).
• It is about the topic of research, about the formulation of the problem, about a possible project of research.
• See more detail: Ryklin M. Terrorology. M.-Tartu, 1992. Ryklin does not raise the issue of "gender" variations of "speech vision", we, for our part, also do not insist on the fact that "speech vision" and the concomitant paradigm of consciousness carry the "male" Although examples of female certificates of historical events given in this article suggest us to the idea of \u200b\u200bthe existence of such differences and the weakened nature of logo-centers in the feminine "vision" on the world around.
• Our recent history provides us with convincing examples of vision logocentric, although in a somewhat different sense. Chernobyl catastroph for many people who have witnessed it, in a purely epistemology plan represent an unsolvable riddle: any disaster thinks us usually as a disaster visible and a felt (pain shock or a fire outbreak, burning eyes, precede the reflection and the act of verbalization of a pain symptom or seen tragedy), while radiation is not feeling and not visible, but is called and, moreover, the pronunciation of this word implies an action - fighting Invisible or flight from him. Through the prism of the language surround begins seein another light: the eye looks like signs of danger, spilled in the air of an infected area. Reflecting on the heard from the "eyewitnesses" ("I did not read about it in any book and did not see the cinema") Chernobyl tragedy, Svetlana Aleksievich writes: "Everything is noticed for the first time, pronounced out loud. Something happened, for which we still do not have a system of representations or analogues, no experience, for no other vision, nor our ear, even our dictionary is not suitable. All internal instrument. It is configured to see, hear or touch. Nothing this is impossible ... "(Aleksievich S. Chernobyl prayer. M., 1997, p.26).
• Mitchell W.J.T. "What is Visual Culture?", In Irving Lavin, ED. Meaning In The Visual Arts: Views from the Outside (Princeton, NJ: Institute for Advanced Study, 1995), PP.207.
• Ibid., P .209.
• Svetlana Aleksievich in his book "The war is not a female face," leads excerpts from the memories of women about the Great Patriotic War, comparing them with memories of men: remembering one thing, in fact they talk about different, while men summarize their impressions, correlating them With official versions of events or discussing the political significance of the accomplished (that is, "seen" turns out to be "already cleaned" or "heard"), while women are rarely or almost never talk about abstract figures or information in general, over-individual order. "I have been looking for a long time how to tell about the war, until I realized that I was a woman and looking at the war through the eyes of women, and so a completely different material was opened. For example, I still remember the words one of the first participants surveyed by me and how she said that since that year she had never loved the summer anymore, and the other said that since then can not see the cut meat, it always reminds her Human. The comparison of the memories of her husband and wife who fought together were considered: the man recalled how the battle was held, and the woman said about how it was terrible when the river was sworning the dead sailors. Imagine what is the finished image? " (From an interview with S.Aleksievich Author of the article, February 1999).
• The fact is that it is visual sources that seem to be the most dubious. Their "unreliability" is explained in two ways: on the one hand, the unreliable and "volatile" seems to be a carrier of information (film or film is easily exposed to physical effects, up to the complete destruction of the image); On the other hand, there is always a potential possibility of technical manipulations above the image (installation, etc.) with a certain ideological goal that is not so easy to detect, especially not a specialist. In addition, as Mark Ferro indicates, even the "authentic" document can ultimately be in a meaningful or pseudo-image of reality, or an image of pseudo-reality (see: Ferro M. Cinema et Histoire. (Paris, 1994, p.39). For its part, I would like to note that the latter circumstance makes us more thoughtfully treat any type of historical sources: they are all ways representation Reality and, therefore, obey the laws of textual "production."
• Huges W. "The Evaluation of Film As Evidence", in THE HISTORIAN AND FILM(ED. by p.smith; - Cambridge University Press, 1976), p.71.
• Separate "methodologies" are already developed and successfully used. So proposed by Mark Ferro Method for determining the authenticity of the Chronicles (that is, a way to determine the reliability of the chronicles as a historical source) includes a number of procedures and stages: 1) Analysis of the most film material - study of the angle and angle of shooting (immobility - variability); Analysis of transitions from major plans (up to 1940. This transition was impossible without installation, and the installation means a potential falsification within this genre; image clarity and illumination; study of the degree of intensity of unfolding events (authentic noninstenity - lack of action, lack rhythm); Analysis of the grain of the film, its contrast (so, the "disappearance" of Zinoviev, Bukharin, and others. On the film next to Lenin in some Soviet chronicles, it is possible to diagnose, judging by bad contrast); 2) analysis of personnel content - identification of costumes, objects, interiors; 3) Finally, analytical criticism is also necessary, comparison of external facts related to the film - data on the firm that has released a chronicle; Production and rolled products, film reception contemporaries, etc. (See: Ferro M. Cinema et Histoire. (Paris, 1994, PP.109 - 133).
• Cm.: THE HISTORIAN AND FILM(ED. by p.smith; - Cambridge University Press, 1976), Ferro M. Cinema et Histoire. (Paris, 1994); FILM ET HISTOIRE(Paris: Editions de L "Ehes), 1984; Rosenstone R. VISIONS OF THE PAST (Harvard University Press, 1995); Rosenstone R. (ED.) Revisioning History. FILM AND THE CONSTRUCTION OF A NEW PAST PRINCETON UNIVERSITY PRESS, 1995).
• Each film can be perceived by us as "cast" or a snapshot of that or historical moment, but read it, it is possible to decrypt a message, only knowing the representative of the Representation. "Historical film" is all the more difficult, because it requires a triple decoding procedure - in addition to the historical event, which he represents, according to Mark Ferro, it also represents the attitude towards history and other cultural attitudes of modern viewers to him, and finally for us - In any case, the benefit of a certain ideology that the first recipients unconsciously invested in it.
• We have the right to ask ourselves: "Whose reality" represents one or another source? Any text, even "the most realistic", represents only one of the fragments of the world around us and does it according to the "exclusion" logic of the insignificant. Or "significant" is excluded purposefully on ideological motives. Just as we do not have a different way to know the reality of the past, otherwise, by which the representatives available at our disposal, we cannot avoid ideology, in them encrypted. The study of the ideology of a historical source is reading "on the edges" and "between lines": the identification of passes and lacunas, the fact that they did not find reflection in the narration (so believe Y.Lotman, and M. Fuko, and H. Shuit (Ankersmit F . "The Reality Effect In The Writing Of History: The Dynamics of Historiographical Typology", In History and Tropology: The Rise and Fall of Metaphor (Berkeley: University of California Press, 1994), PP.125 - 161).
• In documentary cinema, the degree of his ideologicalness is much easier to determine than in the film art. To do this, carefully examine who is selected as witnesses and commentators of events, the specifics of the questions asked, the choice of answers (not all answers are included in the installation), installation of the interview (the effect of combination and sequence, the superposition of responses and images, their duration and sequence). (See: Ferro M. Op.cit., PP.162 - 166).
• Under the "historical" film, we usually mean the "costume" film telling us the story of the past, the plot of which is based on the image of real events and real characters. In this fragment of the text, we are talking about this type of film, although the concept of "historical film" by us is constantly disputed - historical is, strictly speaking, any film.
• The cinema participates in historic semi-zeal, visualizing and representing what is difficult to describe in terms of a verbal language - for example, a historical event, and thereby helps us to comprehend its essence.
• As examples, such "historical" films, as "Daki" (1967, Romania, S. Nikolask), who said the dream of Romania's return to the "General European House" in the epoch of the socialist reorganization of the country by appeal to the history of the conquest of the territory of Romania Romanians ; or "Heinrich Five" (1944, L. Volivier, United Kingdom) - Shakespeare's play screening, allegorically read the victorious past in the light of the events of World War II and VS.
• Due to the fact that visual media use the magnificent number of communication channels than written sources, "Statists of History", one way or another those present in the frame (even as a background - "silent" most), nevertheless give more information to think about the voids of verbal text. "Silent" they turn out to be until time: change in the optics of interpretation ( vision)forced them to "speak out."
• From a semiotic point of view, silence is just as much as much as the words of others (what did Yuri Lotman pointed out at one time). However, the fact of "silence" itself is not so obvious, as it seems: it needs to be installed. It should be analyzed not only what is said in certain texts, but also the Institute of these Texts. Why were their authors in a privileged position and their point of view remained in history? Bel and Brysen, exploring the recipe situation in art and believes that women are present in the paintings as a viewer of a woman (as in the caricature of Thomas Rowlandson "Spectators in the Royal Academy" depicts elders, children and women), but "official" art history is presented in the main texts critics men. Features of the female perception and understanding of works in history are practically not recorded, since women did not have access to the creation of aesthetic treatises. The selective turns out not only a set of historical texts, but also a set of their interpretations. It is necessary to take into account what remained beyond the boundaries of this selectivity. Quite often, official history, based on allegedly obvious evidence, implicitly claims the status of a "generally accepted point of view" (authoritative judgment). Receive theories must take into account the difference between "authorized" and "unauthorized" points of view; Recognize the dominant code and a variety of versions of the degradation of the regulatory code - through retreat, ellipse, random variations and substitutions . Alternative codes have many embodiments: from a thin parody to direct distortion, from hidden modifications of existing rules before the introduction of completely new ones, from the bare disinference, to fully refer to the rules. Anyway, it is necessary to recognize the existence of alternative ways to perception before their knowledge and description.A deeply rooted "monotheism" Synepso should be opposed to "Polytemism" of hidden and scattered perceptual codes that have not included in the essay and treatises that have not become the basis of the "reception" and "context" as historical reality. (See: Bel M., Brysen N. Semiotics and Art Credit // Art Creation Questions, IX. 2.96, p.531).
• It is possible that the results and consequences of the dissemination and development of gender studies of the 1990s will be investigated already in the near future. With the help of the Internet: electronic conferences, formation forms, the creation of databases on research centers and their activities, personalities, training courses, distance learning programs, published books conducted by conferences and projects implemented. Moreover, all this virtual activity is essentially already a way of writing history, as well as its potential source.
• See: Ferro M. Op.cit., PP.215 - 216.
• Injury- This is not only a psychoanalytic, but already the historical term used by theorists, for example, in understanding the Holocaust, and meaning the phenomenon of the "split" identity of the individual who survived the injury and trying to negotiate it - as a result, communication with the past is broken, the continuity of memory is disturbed, "False Memory Syndrome", distorting to unrecognizable relationship between an event, "official" version and fads of the injured subject (see: La Capra D. History and Memory After Auschvitz. Cornell University Press, 1998, P.9 - 10).
• Not this is the reason for the famous film of Liliana Kavani "Night Porter", exploring the relationship of the psychopathological dependence between the victim and the executioner, was perceived so ambiguous and criticism, and the audience: the shocking was most likely the fact of the aesthetization of the traumatic (and at the same time the first Sexual) Women's experience - clinic concentration camps.
• One of the often used forms of critics of mass culture is based on the thesis on the transition of humanity to the stage of "vision civilization". However, the method of "enlighten" masses with the help of pictures, and not the books existed already in the Middle Ages ("Simplified" whether the messages are an open question). The intricachability of Pin and Bernard Clervossky on the issue of "visualization" of Gothic cathedrals (see: Panofsky E. Abbot Syber from Saint-Denis // Meaning and Interpretation of Fine Arts. SPb., 1999). Cistercian puritanism for visual culture, personified by Saint Bernar, contrasted the letter as spiritual bliss of the temptation, spiritual - sensual, everlasting - temporary, and the traces of this puritanism clearly appear in modern discussions about visual culture, in distrust of communication through images.
See: Ferro M. Cinema et Histoire. (Paris, 1994); FILM ET HISTOIRE(Paris: Editions de L "Ehes), 1984; Goodwin J. EISENSTEIN, CINEMA AND HISTORY Urbana & Chicago: University of Illinois Press), 1993; Kepley V. "Cinema and Everyday Life: Soviet Workers CLUBS OF THE 1920S", IN Resisting Images. Essays ON CINEMA AND HISTORY (ED. by r.sklar and ch.musser). - Temple University Press, 1990, PP.198 - 125, etc.
• Mayne J. . (Ohio State University Press, Columbus, 1989), P.110; YOUNGBLOOD D.J. Movies for the masses. Popular Cinema and Soviet Society in the 1920s. - Cambridge University Press, 1992; and etc.
• See: Mayne J. Kino and The Woman Question. Feminism and Soviet Silent Film. (Ohio State University Press, Columbus, 1989), P.110.
• Lyudmila personifies the type of the woman herself that the Soviet power wanted to re-educate ("Women who stubbornly clinging in the past; this is the usual type of wives for whom the whole life is focused around the plate"; it is "the legitimate content of their husbands" (see: Kollolltea A. The revolution of life // Art of Cinema, 1991, No. 6, p.106).
• The fact that the "housing issue" spoiled Muscovites, I once told I. Ilf and E.Petrov. Modern historiography provides us with a lot of interesting things, sometimes tragic information about how a housing problem in the USSR was solved. Eviction, seals and "self-removal", communal apartments, hostels, workers barracks, the rationing of the metrarity, registration is only a few of those measures that, according to the plan of Soviet leaders, should have streamlined the sphere of the life of Soviet people, but in fact finally ruined it. So, in 1927 (the year of the release of the film of the film on the screens of the country) was introduced by a special decree "right to self-support", according to which "all that over 8 meters per person was considered a surprise" (this "right" needed to be implemented during 3 weeks, then the question of the intervention decided not to hold her treadmaker, but the house management). It is not surprising that the "apartment question" in the Soviet state was an extremely effective means of manipulation and ideological processing of the population, the structure of the dwelling and methods for regulating housing norms actually determined the norms of the behavior of the Soviet person, determined body and domestic practices. As N. B. Nebina writes, "ideology, the rod of all Soviet reality, and its materialized reality (sanitary, housing, utility and financial norms) allowed to use an apartment, a room, an angle as a mechanism for educating the new Soviet mentality." (See: Lebina N.B. The daily life of the Soviet city: norms and abnormalities.1920-30 years. St. Petersburg: 1999, p.189). Thus, Kohl, Volodya and Lyudmila turn out to be co-residents in the space of one room not only due to friendly and intimate relations, but also thanks to the "care" of the state on the norms of the Soviet dormitory. Volodya "removes the angle" from his friend, but, invading the private life of Kolya and Lyudmila (with easily predictable consequences), personifies the state itself in this situation.
• It is well known that the perception of the audience and the idea of \u200b\u200bthe creators of the film most often does not coincide. In this case, a similar "optimistic" interpretation of the film finale is least assumed by the director and screenwriter. This is what Vshklovsky wrote about the film scenario: "Of course, in the picture and the screenwriter and the director made a number of errors. We made a woman idle. And it noticed the viewer. We did not realize where to children a woman (Identify - A.W.), and just sent it for the city "(see: Shklovsky V. Room. Life and work // For 60 years. Work on the cinema. M., 1985, p.138).
Ibid.
• It is significant that the film's creators themselves seem to "talked" the patriarchal unconscious of their era, less than just thinking about the significance of such a finale.
• Kollolltea A. Revolution of life, p.108.
• "Theft of Visual" - ironically, it was supposed to be called the last and unfulfilled film of Lev Kuleshov. The heroine of the film, a simple peasant, could not see In another peasant fist. (Mayatsky M. Some approaches to the problem of visuality in Russian philosophy // Logos., № 6, 1994, p.75).

/ ROS.GOS. B-ka for young people; Cost. A.I. Cunning. - M.: Russian State Library for Youth, 2011.-144 p. - p. 5-10.

Who would have thought: book culture, in modern her form, just about 600 years! And this figure is overestimated, because the printed word got a mass distribution not at the same time in the 1440-50s, when Johann Gutenberg printed his first books, and much later. And if we talk about book culture in Russia, then the numbers will be even more modest. However, today in our consciousness, the culture of book reading is hardly the basis of civilization. As for attitudes towards the image and image, the post-Soviet society was hostage to the uneasy situation: on the inertia of our historical development, the visual image and the image continue to be perceived as something sacred and true; However, the current mass media (television, press, advertising, etc.) exist according to the rules of the global world, in which the image is no longer an artifact and not reflection of reality, but a way to offer an informational message, a new language. You can recall the mass of recent loud scandals from the field of art and journalism, the cause lies in this civilization problem.

What is the "Civilization of the Image"? What place is comic in it? Why is it so important to talk about it now?

Do you give yourself a report in this or not, but today we live in the era of the departure of visual images. Visual culture becomes the basis of our world perception almost immediately as soon as we come to this world. Most of our ideas about the world in reality is not based on real experience, but on the books are represented in books, newspapers, on television and on the Internet images and images.

For example, hardly any of us lunch at one table with Johnny Depp or Alla Pugacheva, well, or - I saw them with a glimpse of the corner. But for us these people are quite real: their images instantly pop up before their eyes, it is worth only to hear their names.

Do you know what is happening in Libya, or what is the landscape around the statue of freedom in America? Of course yes! But did you have in these places? Why can you think with such confidence that you are in principle known what is we talking about?

And after all, to leave this world visual images, without leaving modern society, is almost impossible.

So what ways our global world has rushed to such a state? And why do we touch on this issue in the context of comics?

So, in order ...