The idea of human solidarity in philosophy Dostoevsky

Today, the national film industry of South Korea demonstrates successful artistic and aesthetic identity, an impressive audience of another culture. This movie is recognizable on the background of the globalization of the mainstream products. And one of the distinctive and striking features of South Korean cinema is the phenomenon of aestheticized violence. The issue of this article is the phenomenon of aestheticized violence in the context of identifying the determining role of original philosophical foundations of culture. The actuality of this interest is caused by a crisis of identity, characterized by a modern globalized world. As you know, trends conservation of cultural identity is not always successfully resist the growing unification of philosophical and artistic processes. The author of this article is trying to demonstrate the validity of the power of the national cultural tradition in modern cinema of South Korea. The aim of the article is the identification and characterization of the features of the development and representation of aestheticized violence in the space of modern Korean cinema. The fact that the author refers to this little researched aspect in the field of film art as an interpretation of artistically-shaped, ideological and thematic peculiarities of national cinematic language from the position its socio-cultural foundations of development leads to the novelty of the study. As a result, the phenomenon of aestheticized violence - one of the hallmarks of the South Korean film school, reflecting the peculiarities of national and cultural identity of the people of the region. Based on the philosophical and religious beliefs, as well as heavy and bloody history, the screen brutality, submitting a comprehensive cult of beauty, determines the specificity of film language.

Keywords

Authors

References