Pavel Rodkin. Cinemapolitics. 13 Experiments on Hermeneutics of Modern Cinema

Cinemapolitics. 13 Experiments on Hermeneutics of Modern Cinema

Rodkin, P. (2018) Cinemapolitics. 13 Experiments on Hermeneutics of Modern Cinema. Moscow: Sovpadenie. — 184 p.

ISBN 978-5-9500565-3-6

The study is devoted to hermeneutics of cinema of the twentieth century, the disclosure of the excluded content and the work of film policy based on the analysis of more than a hundred foreign and Soviet/Russian films. The book will be of interest to all who are interested in the phenomenon of mass culture, cinema and the essence of power in their philosophical, sociological and cultural-political interpretation.

Language: Russian

Design: Pavel Rodkin

Paperback: 184 pages

Size: 145x205 mm.

ISBN 978-5-9500565-3-6

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Cinemapolitics. 13 Experiments on Hermeneutics of Modern Cinema

The well-known phrase of Vladimir Lenin that cinema is the most important art has acquired a multitude of interpretations and interpretations. But its meaning remains relevant now, which is perfectly proved by Pavel Rodkin in his book: for the formation of images of the "world" and "future", that is, the desired vector of development at various levels, visual images are the key tool. And nothing forms these visual images so well as cinema, which retains its position both as a key part of show business, and as one of the most massive areas of communication, which quite elegantly and safely for itself digests all those technologies that, it would seem, had to throw the movie into the "dustbin of history". But, as convincingly demonstrated in the book by Pavel Rodkin, there is no more effective means of manipulating the mass public consciousness than cinema, which to a certain extent is free of social and class barriers and which makes hidden meanings available to almost any audience.

Dmitry Evstafiev

The author formulates meaningful theses about power, as if "pulling" them out of complexly twisted plots of different, both foreign and Soviet/Russian, films. After analyzing the films, we can say with confidence that the essence of power is supranational and universal, beyond time and space, beyond state borders and different ideologies.

Lubov Choi

Outwardly, Pavel Rodkin's book resembles numerous works criticizing ideology. But this is only a superficial similarity. Here you will not see appeals to a certain reality that is hidden by ideological strata. And if modern criticism of ideology is still trying to return to the concept of reality (even in the Lacanian version — as its absence), trying to reconstruct it or deconstruct this context from the absent center, that is, the real as such, then the analysis that Pavel Rodkin offers is devoid of similar temptation. Unlike Slavoj Zizek's works on cinema, this analysis is not fascinated by the capture of the elusive real: after all, in a world where reality is not given, that is, absent, the very absence of reality is real.

Vyacheslav Danilov

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Cinemapolitics. 13 Experiments on Hermeneutics of Modern Cinema