Normativity in the philosophy of cinema (review of the conference)

The article is devoted to the All-Russian scientific conference “Normativity in the Philosophy of Cinema”, organized jointly by Volgograd State University, Lomonosov Moscow State University, and the Russian Philosophical Society. Lomonosov Moscow State University and the Volgograd branch of the Russian Philosophical Society. The participants of the conference focused their attention on the fact that cinema inevitably reflects the nature of normativity because, in accordance with the traditions of European dramaturgy, the storyline is based on the event of disorder, and the conflict structure requires that the figure of the violator is opposed by the antagonist, that is, the follower and defender of the social norm. At the same time, cinetext can reflect both the author’s ideas and purely typical notions of law prevailing in culture. At the same time, the cinema, among other things, can be used as an experimental ground for working out a new way of social action. In addition to the philosophical approach proper, interdisciplinary approaches to the problems in question were presented: legal, historical, sociological, and theological. In the framework of the thematic sessions and plenary lectures of the conference, various aspects of philosophical comprehension of cinema in general and the idea of normativity as its substantial leitmotif were discussed, including genre specificity (crime films, horror, serials); the works of certain masters (A. Tarkovsky, F. Fellini, M. Scorsese, W. Anderson, M. Zakharov, E. Ryazanov, G. Daneliya, etc.); national codes of film cultures; reflection of historical events, including traumatic ones, and their processing by means of film language; representation of religious symbols and meanings in cinema; normative modes of perception of a film production. Thus, we have seen that cinema, as a fractal way of seeing modern culture, is an exceptionally rich and grateful material for philosophical thinking.