The film “Aссidentally” directed by Zhora Kryzhovnikov as a phenomen of postmodern sensitivity: the experiens of cultural analysis

The article is devoted to a cultural study of the short film “Accidentally” directed by Zhora Kryzhovnikov (A. Pershina) (2014). Using the chosen analysis, the author focuses on the contradictory axiological basis of this film, establishes the duality of its artistic presentation, semantic inversions and controversial ethical attitudes created in the context of a specific form of worldview - postmodern sensitivity. The relevance of the research lies in the rapidly increasing Western European poststructuralist conceptualization of cultural concepts, artistic images, and the adaptation of the main postulates of late modernity by a specific domestic film product. The director's postmodern pluralism and worldview relativism, which has become the main ethical and artistic basis of the film, artfully blurs the established concept of spirituality with its attributes, modes and a number of key categories of the human spiritual world. The author of the article discovers controversial ethical zones of postmodern dehumanization (with its inherent value ambivalence), and then invites the reader to determine their cause through the interrelation of objective conditions and a subjective factor. When the basic moral and ethical (axiological) criteria of a work of art are completely or partially leveled by the Author or veiled by the trends of postmodern mass culture, anxiety inevitably arises about the spiritual health of the society consuming such cultural products. The article raises topical issues of postmodern reflection related to the Artist’s ethical understanding of the problematic realities of modern society and their conceptual cinematic embodiment. Speaking about the variability of the creative idea of the film “Accidentally”, the author outlines potentially possible ways to overcome dangerous zones of postmodern sensitivity associated with total absurdity, moral zeroing and a sense of social catastrophism. The article focuses on the role of the Director not only in the local film sphere, but also in the wide socio-cultural space of Russia, especially in difficult times for it. The author declares no conflicts of interests.

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