Кино и глобализация
Cinema and Globalization

Summary/Abstract: This article claims that cinema was a global art from the very beginning of its appearance. Its global character has strongly shaped the development of screen aesthetics during the silent period. I analyze texts of Sergey Eisenstein and Siegfried Kracauer in order to support this statement and to argue with some contemporary leftist interpretations that maintain an exclusively negative attitude towards the influence of globalization on cinema. At present a great number of films are produced by transnational units all over the world and are distributed to globalized audiences. This process calls for developing of new methodologies in cinema research, and for explaining films in new terms. Transna- tional cinema is a tag used by several scholars to clarify the influence of globalization on screen arts. Analyzing topical co-produc- tions from both sides of the Atlantic such as Amélie, Crouching Tiger, Hidden Dragon, Slumdog Millionaire, Zentropa etc. I make an effort to outline the model of contemporary transnational film: elements and patterns from different cultures are melted into the structure of the cinematic text without being apprehended as in their original cultural contexts. Consequently, I state that studying the particular artifacts in the framework of a global cultural exchange is the only winning approach to the new developments in the art of moving image.

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