DOI: 10.36871/hon.202202020
Authors
E. S. Doroschuk,
М. H. Bayraktar,
А. A. Guseinova,
Kazan Federal University, Kazan, Russian Federation
Abstract
The article presents the analysis of the specific features of ethnic culture representation by means of Turkic-language ethnodocumentary cinema. The authors consider ethnographic film as a cultural phenomenon, emphasizing the author's intention to add the global significance and value to the reflected culture in the films under consideration, which allows it to take its place in world history and on the ethnographic map of the Earth. The author's attitude is based on personal observations, relying on collected knowledge, which has a special representative-author's character that allows to represent the unique conditions of encounter with a culture in unique circumstances. The author, on the one hand, acts as an observer of culture and, on the other hand, becomes a full participant in the reflected events, demonstrating the author's manner and interpreting not only what he sees, but ethnic culture as a whole. Ethnographic films are not always based on ethnic events, but more often on the creation of characters in the narrative, on which the author's emphasis is placed. However, performativity and eventfulness combined with imagery allow the viewer to depict the event as it is perceived based on the viewing experience. The main thing in the film is cultural identity, as expressed through a whole range of images, which leads to an understanding of ethnic identity as a special form of cultural representation of an individual. Among the main features of the Turkic-speaking ethnocumentalism are the following: the anthropological nature of the representation of a person of culture based on a detailed accentuation of everyday life; the search for similarities and differences of cultural texts, which represent traditional formats of everyday life, rituals and mentality; the interpretation of the documentary's author based on his participation in the shooting process; the peculiarities of the orientation of collective perception in the process of perceptual design in the film programme with creative use of cinema as a channel of cultural representation; the creation of a kind of navigation of screen information and social regulation of the content of an ethnofilm by involvement in the process of creating an ethnofilm; the transfer of the aura of culture based on the consonance of the aesthetics of the film with the aesthetics of culture.
Keywords
ethnodocumentary cinema, ethnicity, national culture, Turkic peoples, representation of national culture
