This article is devoted a problem of creation of the mediatext as new format for presentation of the scientific information. On a material of culture of the 1930 which have marked transition from avant-garde to totalitarianism, the (video) picture reflecting leading tendencies of an epoch and the form of their artistic realisation is built.
This paper is dedicated to the concept «new hero» in the movies of early totalitarianism. Mythic qualities of the character and original specificity of images of Room’s Strogiy Yunosha and Riefenstahl’s Olympia are discussed hereinafter.
The issues of symbolism of the cross as a universal sacred symbol are considered. Some of its varieties, which emerged both in the pre-Christian era and after the spread of Christianity, are briefly presented.
The article is devoted to the issue of the concept of mythological plot in the animated movie "The Lion King" produced by Walt Disney Studios. Its components are miraculous birth, acquisition of magical fragility, heroic deeds and trials, short-term death and rebirth, wisdom of rule and mystical death of the hero. The plot of The Lion King develops on the symbolic model of cosmogonic myth and heroic initiation. The hierarchy associated with the roles of the central characters and narrative persons is based on Egyptian myth (Osiris). The climax of the movie is the duel between the protagonist and his antagonist. In this conflict, the model of eschatological myth can be traced. The narrative artistic space of the movie and the heroics represent different aspects of mythological thinking.
The article deals with the correlation between the concepts of rhetoric and postrhetorical culture; philosophical, epistemological, ontological origins of the new worldview; constructive features of the postmodern text. Special attention is paid to the problem of the importance of rhetoric for modern artistic creation.
