Text-game: the cinema intertextuality as reflection of the epoch consciousness (the case of the Amanda Sthers's film “Madame”)

Rationale. Interest in the knowledge of the art language essence, the search for different models of its description and study are typical not only for modern science in general, but also for cognitive approach in culture studies in particular. This explains the publication relevance, that is expressed in the accumulative function of language and culture, connecting the outside world objects and human consciousness, providing a systematic and orderly reality image. The article aim is to objectify the problem of correlation between the understanding the real world principles and the modeling artistic reality principles on the example of the film “Madam” (2017) directed by A. Sthers. To reach this purpose is possible by the solution of such research objectives: - Analysis of the film intertextual nature, given the European cultural experience - from the medieval farces and Shakespeare's theatre to the postmodern novel, from the Leonardo da Vinci's frescoes to D. Buren's conceptualism. The key element of this cultural mosaic is the Baroque tradition with its gameful nature. - Designation of the author image status in the text: the film plays out the situation when the writer's artistic reflection goes beyond his individual consciousness, modeling the real situation and at the same time objectifying itself in the verbal text. There is a subtle image of the subjective process of the modeling “second reality” beneath the outwardly unpretentious comedy film plot. - Actualization the games category. The associations freedom and the wide scope of combining meanings constitute the Baroque combinational game essence - the game as the creative thought manifestation, as the human culture essence. There are surprisingly witty (in the Baroque sense) parallels with the L. Carroll's “Alice's Adventures in Wonderland” and “Through The Looking-Glass And What Alice Found There”, V. Nabokov's “Luzhin's Defense”, S. Zweig's “Chess Novella”. The analysis of these “chess” texts reveals their semantic commonality with the film artistic organization. The setting objectives led to the useing of three research methods: the structural semiological, the intertextual and the hermeneutic methods of the filmtext research. The study found that the inner film semantic core includes the following oppositions: truth and lie; freedom and unfreedom; emptiness and fullness. Overall, A. Sthers playing a kind of “the glass bead game” party, in which she makes actual the Baroque artistic thinking, given the postmodern discourse experience and using associative links with a variety of culture periods and culture texts. The neo-Baroque character of the modern worldview is determined largely by the problems of human knowledge possibility limits, of the illusory nature of the hypothesis about the world that human consciousness constructs - the problems that were first put with the greatest clarity in the Baroque era. This same era affirms the universality of the moral world foundations, loyalty to which allows you to escape from the illusions world.

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