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B xo.n.e HOBeihnei1 ,ll;MfMTaJibHOH peBOJIIOl.l;MH ITO.RBJI.R- IOTC.51 caMbie pa3Hbie ou;eHKH HOBbIX BM3yaJibHbIX MHpoB: OT rrporH030B CBeTJIOro 6y,n:ym;ero 2 .n.o ITJiaTOHHt.IeCKHX ce- TOBaHHH 3 H anoKaJIHIITHlJeCKHX CIJ,eHapHeB 4. B ,n:eHCTBH- TeJibHOCTM, M3MeHeHH.R B KYJibrype, KOTOpbie rrpHHecJia 3BOJIIOl.l;H5l Me.n.11a, He 6bIJIH em.e rro.n.po6HO rrpoaHaJII13MpO- BaHhl. The Coming and Going of Images - TaK Ha3bIBanacb 113,z:i;aHHa.5! 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Bildwissenschaft IDlli image science BKJIIOqaeT B cefor 11ccJie.n;oBaHHe M306pa)l{emril: pa3ttoro TMna, He TOJib.KO B c<}!epe MCKYCCTBa, HOH Hayirn, Mace Me.n;11a, MH- .n.ycTpMM pa3BJieti:eHMH, CUia.IIM3 JTM.IIHT8pHbIX o6pa30B 113 ITOBCe.n;HeBHOH )!{H3HI1, IT03TOMY Mhl CtrnTaeM a.a;eKBaTHbIM rrepeBeCTM .n;aHHOe HanpaBJieHMe Ha pycc1rn:i1 H3hIK KaK MCCJie- .ll,OBaHMH mrnyaJihHOH KYlihTypbI. IIpo6JieMaT11Ka KYJihTypm.rx HCCJie.n;oBaHH:i1 BM3yaJibHOro ,ll;OCTaTO'lliO OCBfilI(aeTCH B crre- IJ;MaJibHOM HOMepe )KypHaJia Jioroc NQl [85] 2012, CM.: MMKe BaJib Bu3yaJlbHbLi1 acceH4UaJlU3M u o6roeKm BU3YaJZbHblX ucCJie- aoaaHuii. - C. 212-249, 11 ,lVI<e:H.Mc 3JIKHHC J(ea.Rmb munoa MeJ1cauc4UTV1.UHap1iOCmU aJIJl. BU3YaJlb1iblX UCCJleaoemwii. - C. 250-259. CM. Ta101<e: 3JIKHHc, ,l{)K. J1cc;zeay.R BU3YaJZbHbti1 Mup I rrep. c attrJI. -Bwrbmoc: ErY, 2010. -ITpUM.. pea. 8 Ilo.n; MMMepc:vrei1 0. fpay ITOHMMaeT 3<}!cpeI<T rrorpJ)KeHHH, rrpOH3BO,ll;MMbIB TeXHOJIOrHHMM o6ecrre'l!MBaIOll.(MMl1 3cpcpeI<T ITOJIHoro rrp11CJTCTBHH, npoHHKHOBeHMH B BMpTyaJibH}'lO cpe.n;y. no,n;po6Hee CM.: Grau, o. Virtual Art: From Illusion to Immersion. -MIT Press/Leonardo Books, 2003. -ITpUM. peo. 8 KOMIIeTeHI.l;I1M, KOTOpbie 3pMTeJib rro.nyqaeT, IIOTpe6mnr M30- 6pIDKeHMH 9. B .n.aHHOM KOHTeKCTe H XOTeJI 6bI BMeCTe c BOJihcPraHOM JleHIJ,OM lO I1 fepMaHOM IliMMTil;eM 11 orrpe,l1.eJII1Tb 3M01.{UU KaK HarrpaBJieHHbIH Ha qTQ-JII160, TeJieCHO BOITJIOJ:neHHhIH, o,z:r.Ha- KO CJIO)IUiO JIOKaJIM3yeMhIH cPeHOMeH. 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CTOMll- MO 3TOrO ace OHM JIBJIHIDTCJI pa6oTaMll BbIIIOJIHeHHbIMH Ha 3aKa3. ,[(Ba 6onee paHHMX npo113ae,D,eHHJI co3,z:r.aHhI no 3aKa3y 9 I1oApo6Hee: BbIBeAeHMe MCTOpMKO-MaTeMaT11<:1:ecKo:i1: MOAeJIM ,aJIB Hayiur 06 11306paJKeH1111: Oliver Grau, Zwischen Bildsug- gestion und Distnnzgewinn, in: Vom Realismus der Bilde1; Inter- disziplinare Forschungen zur Semantik bildlicher Darstellungs- formen, hg. von Klaus Sachs-Hombach, Magdeburg 2001, S. 213-227. CM. TaIOKe, James Elkins, Pictures and Tears. A History of People Who Have Cried in Front of Paintings, New York 2001. 10 Wolfgang Lenzen, Grundziige einer philosophischen Theorie der Gefiihle, in: Pathos, Affekt. Gefiihl. Die Emotionen in den Kiinsten, hg. von Klaus Herding/Bernhard Stumpfhaus, Berlin 2004, 80-103. 11 Hermann Schmitz, Spiiren und Sehen als Zugange zum Leib, in: Quel corps? Eine Frage der Reprasentation, hg. von Hans Belting u. a., Munchen 2002, 429-438. 9 lfaeHreHMCKHH antapb rrpanHTeJILCTD pa3JI:aqnr,1x rocy,n;apcTB. 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Mammuac I'p10HeBOJlbO, Aflmapb a M3enzei1.Me, J.fe3ic()y 1512 u 1516, Bbtcoma u,eH.mpCI.llbH.OU 'lacmu - 355 CM, ULUpUHa OeyX 60KOBblX naHe.Jieii a.Me- eme- 295 CM. KoJtb.Map. McnoJtb3yemcR. c pa3pew.e11uR MpeR YnmepAuH.oen. qJ1JKeHHOe, Bee e~e )KHBOe TeJIO oce.n;aeT Ha KpecTe, B CMHHX rranhn;ax Hor Xp11cTa )')Ke tta"t.laJioCb TJiemre. 3a,n;a"tJeH aJITap51, B03Be,n;eHHOro B nepKBI1 MOHaIIIeCKOro opp;eHa aHTOHHaH 6bIJIO, 11 3TO 6eccnopHO IIpl13HaeTCH B HC- CJie,n;oaaTeJlbCKOM Jll1Tepazype, 11cn;eneH11e 3apa)l{eHHbIX "t.IYMOH I1 «aHTOHOBbIM OrHeM» 14 c TIOMO~blO BI13yaJibHO- 14 MoHameCKHH optteH aHTOHHaH 6bUI OCHOBaH npH6JIH3MTeJTh- HO B 1095 ro.l{y Ha rore <l:>paHD;Hl1 H CJle)J.OBaJI BOCXO.l{~ei1 K paHHeMy xpHCTHaHCTBY Tpa.l{Hl:(HH noneqeHHJI 0 6oJibHhIX, tte.naBme:H oco6hrn aKu;eHT Ha 3a60Ty o Tex, KTO 6hm nopa- )KeH qyMOH 11 «aHTOHHeBhIM orHeM». MoHaXM-aHTOHHaHe 3a60TJUIHCb 0 6oJThHbIX BO Bpewr 3IIH.l{eMHi1: 3proTH3Ma (OT cpp. ergot - cnopblHbR). 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ToJihKO nocne :3T0f0 6oJibHbie rronyqan11 Mel1,HlJ,I1HCKYK> IIOMOII(b OT Bpaqel1 Op)J;eHa 16 . flpH 3TOM Me'AH:U,HHa yczyrrana MeCTO Bepe B qy- )KeHI-rnro 3T.l1M rp.116KOM, B03H11Ka.JI11 3TII1,lJ.eM1111 sprOTI13Ma. 0TpaBJieH11e anKaJIOM,lJ.aMM cnopbIHb.11 BbI3hIBaJio arpecci-rn- Hoe noBe,ll.eH11e, cy,ll.opor11, raJIJI10u;11rr~1111, yMcTBeHHbie paccTpOHCTBa, corrpOBQ)K,ll.aBIIII1€CH )I<ryqei1 6oJibIO, KOTopyio tta3bIBaJI11 «CBRTbIM», MJIH «aHTOHReBbIM ortteM». B 1940-x ro- ,ll.ax M'.3 CO,ll.€p)l<al.ll;eHCH B crropblHbe JIM3epr.!1HOBOH KHCJIOThl 61m cmrre3MpOBaH CM.JlhHeHII1MM raJIJIIOU,HHOreHHbIM Hap1<0- T.l1K flC,U. CM.: Bauer, Veit Harold: Das Antonius-Feuer in der Kunst und Medizin. - Published by Berlin, Heidelberg, New York. Springer 1973; MaKKMHHC, ITJITep Tuxue y6ui1~bl. Bce- MupH:a.R. ucmopu.R. ROOB u ompaaume.n.ei1. I rrep. c attrJI .. - M.: Kon.116p11. 2008. c.367-382. -IIpUM. peo. 15 0 Bepe B H3o6paJKeHIDI CMOTpMTe <PYHAaMeHTaJlbHOe HCCJie- AOBaHHe XaHca Ee.JITHHra: Hans Belting, Bild und Kult, Eine Geschichte des Bildes var dem Zeitalter der Kunst, M tinchen 1991. (Ee.JITHHr, X. 06paa u 1cyJZbm (ucmopu.R. o6paaa 3noxu oo uc1<yccmaa). I rrep. c HeM. - M.: ITporpecc-Tpa,lJ.11u;HH, 2002). He tty)l{HO ,lJ.aJKe HarroM11HaTh 'lMTaTemo nere~y o soJIOTOM TeJibu;e. I1HTepecHeMIIIMM ,[\OKaJaTeJibCTBOM TOrO, Ka1<0e yno- eH11e, 1<a1<11e CMeIIIaHHbie qyBCTBa Bbl3bIBaJI.l1 penMrH03Hbie 11so6paJKeHHH, MO)l{eT CJIY)KHTh «lIMOMHUttecmao KIIpeKpac- Hoii Mapuu B Pe2eHc6yp2» - rpmnopa Ha ,lJ.epeBe, C03,lJ.aHHM OcTeH,lJ.Op<}>OM rrpHMepHO B TO)Ke BpeMH, ~TO 11 aJITapb B l13- eHreI1Me. 3Ta rpaBiopa IIOAOOHO penopTaJI<y .llOI<)'MeHTHpyeT 6e33aBeTHO npe,ll.aHHhre, HO B TO)Ke npeMH s:H<PopWiecI-me no- cTyrrK11, KOTOpbie COBepIIIaJIHCb BOI<pyr 'l)',lJ.OTBOpHoro I130- 6pa)l(eHwr MaAOHHhI. 16 Franziska Sarwey, Griinewald Studien, Zur Realsymbolik des Isenheimer Altars, hg. und bearbeitet von Harald Mohring, Stuttgart 1983, 86. Ebenfalls, Andree Hayum, The Isenheim Altarpiece, God's Medicine and the Painter's Vision, Princeton 1989. 13 ~bettrei1MCK H H anrapb .D;OTBOpHoro Xp11cTa 11 B CBR3b c HHM qepe3 11306pa>KeHl1e, KO- TOpoe qTo6bI cl>11311\leCKH 11cueJII1Tb qeJIOBeKa, .D;OIDKHO 6bIJIO rJiy60KO 3aTpOttyrb ero 3MOUHH. 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Bo3MO)l{HO, 3TO H306pa- :>KeH11e - IUIOA COBMeCTHOM pa6oTbI fpIOHeBaJib.D;a c 3aKa3l:JH- KOM fyl1,ZJ.O f10pcH, a66aTOM MOHaCTbipH, /1,JIB xpaMa KOTOporo KapTMHa 6hma Han.H:eaHa. 0.n;HaKO TO, RaK xyti;O)l{HHK rrpe.n;cTa- BKJI KOMII03llll;ll10 .RBJI.ReTCJI HHHOBau11ei1: ·11 ToqHo He MOrJIO 6bITb npe.n;MeToM 3aKa3a: y3K11e rpaHHIJ;bl rrpocTpaHeTBa .n;aIDT 6oJiblliOMY cpopMary I<apTttHbl OKa3aTb CKJlbHeiimee B03.n;ei1- eTBHe Ha 3pI1TeJI.H. cI>pOHTaJibHOCTb, I!pHT5I)l{eHHe CIJ;eHbI K Kpa10 paMb! 3aCTaBJIHeT Hae CMOTpeTb Ha KapTHHY eHH3Y BBepx, Tal<M IIOCTaHOBKa TeJieCHO rrp116JI11:>KaeT .n;paMaTH"l!eCKI1e co6blTH5I IlOJIOTHa K 3pliTeJl10 11 rrpaKTrrqeeKH. 11eKJ110-qaeT ,ll;I1CTaHu;11po- BaHHbIB B3r~. 3ctAHI1M IUiaH, rJiy611Ha JiaH,z:t;macpTa B MOMeHT nepexo.n;a OT )l{I13Hl1 K CMepTH rrorpy>KaeTCJI B COJIHetIHOe 3aTMe- HHe, He OCTaBJI.H.H /1,JIB Hae B03MOJKHOCT'I1 I136e)l{aTb .n;paMaTHTie- CKOM 6JI113ocT11 Tpan·PiecKoro co6bJTH.R. An:Taph scer.n;a 6blll CB.H3aH c «OrHeM CBHTOrO AHTOHHH)), O.D;HOH 113 CaMblX onycTOillHTeJlbHblX 3III1)J;eMHM cpe.n;HeBeKO- BbH, CHMIITOM KOTOpOM - nepBOHaqaJrbHOe )l{)l{eH11e .n;aJIO 11aT11HcKoe Ha3Batt11e Ignis Sacer, qTo 03HaqaeT caHm;eHHDIH oroHb. C pe)l{ymeli 11 :>KryIIJ;ei1: 60Jib}() 6oJie3Hb oxaaTbJBaJia KOHetIHOCTI1, a IIOTOM rrprr Cl1JlbHOM MYfiMTeJibHOM qyscTBe xono.n;a 3apa)l{eHHaH Hora 11JI11 pJKa OTM11paJia. MHor11e 6onb- Hbie XOTeJIM YMepeTh, HaHTM crraceHHe B CMepTM 1'I B BOCKpe- ceHHH, 'lT06bI I136e)l{aTb CHJibHei1:meH: q,11311qeCKOH 60JII1. 14 ~1Jettrei1MtKMi1 amapb B u:eHTpe KapTHHhI, np.HMO rro.n; pacnRTbIM XpHcToM fpIOHe- BaJih.D; c IIO"l!TH cPOTOrpacl>11qeCKOM TOqHQCTblO I1306pa.>KaeT B KaT.IeCTBe aTp116yra MHpa 6oJibHbIX cocy,n; c JiereI·I,n;apHbIM 3JIYIKCHpOM aHTOHHaH 17 . CBOIO, KaK rrpHHRTO 6bIJIO cq11TaTb 18, u:eJIHTeJihHYIO l1 cnaCJ.iTeJibHYIO CHJiy, 3JII1KCI1p IIOJiyqaJI 6Jia- ro,n;ap.H npHKOCHOBeHHIO K KOCTflM .CB.HToro AHTOHHR, qepe3 KOTOpbre ero pa3JIHBaJIH. ,lJ,eTaJibHO OIII1ChIBaIOru:11e 6oJie3Hb !1CCJie,n;oBaHI1.fl IlOJIHOCTbIO TIO,ll;TBep,D;I1JII1Cb o6ttapy.>KeHHeM Hel13BeCTHbIX xpoHHK H HeO..>KM,D;aHHOH 3III1,D;eMHeli p;aBHO 3a- 6hITOH 6oJie3Hl1 B I0)lili0H <t>paHU:HH B 1950-e rO,D;bI. TaK .>Ke KaK XpHCTOC rrpl1HT.!JI Ha ce6H CTpa,D;aHHH MHpa, TaK H CBHTOll AHTOHI1ll B3IDI ce6e 6oJie3Hh MOJIHru:HXCR. B u:eH- TpaJibHOM MOTHBe aJITapH - XpHCTe B MOMeHT cnaceHHfl l1 CMepTH - o6HapY.>Kiil:BaeTCT.! BH3yanbHOe COOTBeTCTBHe 3Ha- qeHl1lO H CMbICJIY HCIJ;eJieHHH. Ha o6paTHOH CTopoHe aJITap.H Mbl BI1,ll;HM KaK BbIIIIep;IIIeH H3 rpo6HHIJ,b1, no,n;o6HbIH COJIHIJ,Y XpMCTOC, HCU:eJieHHbIH H CHHIOru:HM:, HaIIOJIHeH CHJIOH. Mb! T.IYBCTByeM ero rrp11cyr- CTBHe. BHe apeMeHM M rrpocTpaHCTBa OH rrapHT B 3Be3,ll;HOM He6e - Ha HeM eru:e BM,ll;Hhl CJie,D;bl OT paH, CTaBIIIHe Terreph l1CTOT.IHMKOM CBeTa BOCKpeceHHR. B 3TOH cu;eHe Ha rrpHMepe ynaBIIIMX Ha 3eMJIIO COJI,ZJ;aT I'pIOHeBaJib,ll., npeBOCXO,ll.H ,ll;Cl)l{e fJaOJIO yqqeJIJio, H3Hru:Ho 3KCrrep:uMeHTHpyeT c TpexMepHOM rrpocTpaHCTBOM. HaChI~eHHbIH rropa3HTeJibHbIM BHMMaHMeM 17 LJyAOTBOpHbIM 3JieKCMp, era xprumJIM B CTeKJIBHHOM rpaqm- He. Ka)l{,llbll1 ro,ll B nacxaJihHOe BOCI<peceHMe B MOHaCTbipe 1 CBRTOro AHTOHMR B MeCTetIKe CeHT-AHTyaH-JI A66e11 npOBO- ,llMJICR TOp)KeCTBeHHbIH o6pM, BO npeMR KOTOporo 3JIMI<CMp pa3JIMBaJIM qepe3 np:i:rne3eHHhie H3 B113aHTJ1J1 KOCTH CBRTOro AHToHMH. TaKHM o6pa3oM, SJIHKCHp nonyqan oco6yro cTe- neHh CBHTOCTM. 18 BOJihcPraHr KloH HanMCaJI CTaTblO «AJiaTapb B vfaeHrei:fMe KaK H306pa)KeHHe cpe,llHeBeKOBbIX JieKapCTBeHHbIX TpaB», KOTOpa5I npMBOAMT BneqaTJIBJOIUMe AOKa3aTeJibCTBa Toro, Ha- CKOJibKO peanaCnitIHO Me,llMI(MHCKa5I npa1<nma Toro BpeMe- HM 6hIJia M306pCl)KeHa fproHeBaJibAOM. Ders., in: Kosmos 44 (1948), 327-333. 15 <l>MllbM KaK cyrreCTMBHblM MeAMYM K ,D.eTamnvr pea11113M fp10HeBa11b,zr.a 3aTpar11saeT Bcex, OT aHre- JIOB ,zr.o ,D.eMOHOB H 'l.IYAOBIU.IJ;, KOTOpbie, He CMOTpH Ha I1X ¢aH- TaCTH'1HOCTb, rrpe,zr.cTaIDT KaK rrpOH30llie,lJ.IIIHe OT 3eMHbIX cy- meCTB. 3pHTeJIH IlOMemeHhI «B KapTHHy», TaK l.ITO pacII.HTMe OXBaTbIBaeT Hae c «He:i-i36e»<HOH HaCTOH'1HBOCTblO» 19 • TaKoe HMMepcHBHOe 11306pmKeH11e ycHJUi.BaeT 3MOUHOHaJibHOCTh BOCilpH.HTHR 6Jiaro,zr.apJI MCKJIIO"t!MTeJibHOMY peaJIH3MY H TOMy, KaK OHO saxBaThIBaeT B3fJIM 3pI1Temr. HecMoTp.H Ha To, 'CITO ycrrex ¢MllbMa orrpe.n;e1rneTCR npe)l{,lJ.e acero TeM, HaCKOJibKO rny60KO OH 3aTparMBaeT -qyBCTBa 3pHTeJI.H, TOJibKO B IlOCJle,lJ.HHe rO,ll;bI IIOJIY"t!Mll 3Hffl!eHRe BO- rrpoc: KaKRM o6pa30M KMHO BbI3bIBaeT 3MO~H 20? TOT Il}'Tb, KOTOpbIM KMHO KaK Me,zr.H)'M ,lJ.JIJI Mace BOUIJIO B HCT0p1110 o6pa30B, c caMoro HffllaJia BeJI K 3TOH IJ;eJIH: Ha BCeMHpHOH BbICTaBKe 1894 ro.n;a o6meCTBeHHOCTI1 6hIJI rrpe.n;cTaBJieH CTepeOIITHKOH, cnoco6HbIH c ITOM.OI:qb10 16 ,zr.11arrpoeKTOpOB 6bICTpo 11 nocJie,D.OBaTeJihHO rrpoeu;11poBaTb rraHopaMHbre 11ao6pIDKeHHJI. B 1900 B C11HeopaMe ycTapesrrrni1 Me,n;HYM - rraHopaMa - CJIHJICJI c HOBbIH TeXHOJIOrMeH KMHOITJieHKH: CHHeopaMa, BnepBbie rrpe,n;cTaBJieHHa.H Ha 60JlblllOM BCeMMp- HOH BbICTaBKe B Ilap11>Ke, 6hrJia r116pH,ll;HbIM MeAHYMOM, co- e,lJ.HHJIBIIIMM 10 CHHXpOHHO IlOKa3bIBaeMbIX 70-MM ITJieHOK B 3aKpb1roe, rrpoeuHpyeMoe Ha 360 rpa,zr.ycos Hao6pa>KeH11e. ,l(eMOHCTpau;H.H 3aKJII0'1aJiaCb B npoeKI:(HH ,ZJ;BIDKymerOC.H 11ao6pa>KeHHJI B03AYlllHOro IIIapa, B3JieTa10mero c MapcoBo- ro TIOJI.H, 11 rrpHBO,ZJ;MJia 3pHTeJie:ii, KOTOpbie HaXO,l(I1JIHCb KaK 19 CM. Wilhelm Fraenger, Mathias Grunewald in seinen Werken, Ein physiognomischer Versuch, Berlin 1936, 128. 20 CM. Maximilian Le Cain, Emotion, in: Senses of Cinema, An Online Film Journal, Devoted to the Serious and Eclectic Discussion of Cinema 13 (2001), a TaiOKe Carl Plantinga/Greg M. Smith, Passionate Views. Film, Cognition, and Emotion, Baltimore/London 1999. 16 l1Jm, 2. Cuueoprurn 1w aceJ1mp11.oii. BbtcniaaKe s Ilapw1ce, 1900. Cwie.Mamo- zpaifiu'leCKaJt nanopa.Ma, cKoHcmpyupoaaHHaR Pay;te.M I'pUMCOHOM-Ca11.co11.oM. 6bl B HJIJII030pHOM a3pOCTaTe, B BOCTOpr 21 . 3,ll;eCb e~e OTtieT- JII1BO BI1,ll;Ha 6JII130CTb K rraHopaMe, KOTOpaJI, KaK npaBHJIO, npoeu.11poBaJia I1306pIDKeHIDI Ha 3a6eJieHHYJO CTeHy pOTOH- ,l(bI 22 • TaKI1M o6pa30M, po)K)J;eHHe KHHO 6yi<BaJibHO npo11c- XO,ll;I1JIO B rrpocTpaHCTBe )')Ke c~eCTBYJO~I1X I1MMepCHBHbIX I1306pameHI1H. Ha BCeMI1pHbIX BbICTaBKax, a cero,z:r.HJI c IIOMO- ~bI:O HOBeHIIIHX BI13yaJibHbIX Me,Z1;11a, BbI3bIBaIO~HX y rroce- T.HTeJieM 3MOU,HI1, HOBbIM Me,ll.HYM IIOJiyqaeT CHMBOJIHqecKyro cpopMy, ,z:r.aJieKyro OT JII06oi1: KyJibTYPbl ,ll;I1CTaHU,I1pOBaHHOro C03epu,aHH5I. 21 06 3TOM: Georg Malkowsky, Die Pariser Weltausstellung in Wort und Bild, Berlin 1900, a Ta.IOKe: Anne Friedberg, Window Shopping, Cinema and the Postmodern, Berkeley 1993, 84f. BpocaeTCH B rJia3a KOppelI51~IDI, cyrn;eCTBYJOIIJ;M Me~y I1CTO- p11e:i1 BCeMMpHbIX BbICTaBOK I1 IIO.lIBJieHHeM HOBbIX Me,D.Ma - o6JiaCTb, Q)l{M,IJ.aroru;aJl CBOero MCCJie,D.OBaTeJUI. 22 CM. Silvia Bordini, Arte, Imitazione, Illusione, Documentie note sulla pittura dei ,Panorami' (1787-1910), in: Dimensioni, Studi sulle Interazioni tra Arte, Scienza e Technologia, Nr. 1, La Costruzione del.le Imagini, Roma 1981, lOlff. 17 OepBOHa'!aJibHO B cpoKyce IOIHeMaTorpa¢MH HaxO,D.HJIMCb He60JibillHe ClO)l<:eTbI: y,D.apbl BO.JIH no IIJIIDKy, KatiaIOmtteOI ITO aerpy 1111cTb.H IUII1 np116b1r1111 noe3.n:a. Coo6meHHR o nepBbIX rrpe,n.craaJieHHRX Or10cra H Jiya JlroMbepa npe,n.craaIDIJIB co6oi1 e,&Ba JIH pa3,D.emIMOe CilJleTeHHe Me)l(,lcy JiereH,D.OM 11 CeHC~OH­ HblM perroprIDKeM. TaK )Ke KaK 11 rraHopaMa pattee, KHHO rrepaoe apeM.H nb1Ta11ocb o6o3Ha'lHTh caoM: noreHu;i1a11 Me.D,HMbHOro c noMombro Y.D.BOeHHR ,D.ocrynHoro onhrra. «llpu6btmue noe3aa» corJiaCHO MHOrO'l!HCJieHHbIM CBH.AeTeJibCTBaM rrpHBO,lJ.IDIO 3pI1- TeJieli B naHMKY, o6pamaJio B 6erCTBO, HeKOTOpbte ,lJ.IDKe TepJIJIH C03HaHHe 23 • MaKCHM fopbKHM, rroceTHBmMH JieToM 1896 ro,n;a IlaBHJibOH 6parheB JlIOMbep Ha BhICTaBKe a H11)l(HeM Hoaropo- ,ll.e, TaK OIII1CbIB3JI CBOH BIIe"l!aTJieHHe B ra3eTHOM cpe.T.IbeTOHe: 11 eopy2 t{mo-mo 14enKaem, Bee uct{e3aem, u Ha 3Kpm-1.e RB.!UlemcR noe30 :Jsce.t1.e3Hoii oopozu. OH Mt£umcR cmpeJioii npRMo Ha sac - 6epezumecb! Ka:J-scemcR, t{mo aom-eom OH puHemcR. Bo mbMy, B KOmopoii. Bbl CUOUme, U npeapamum Bae B pBaH.blU MeLUOK KoJ1cu, no.nHblii U3MR.mozo MR.ca u pa3opo6JLeHHbt:x JCocmeii., u pC13- pyw.um, npeepamum B 06.noMKU u nbLJLb aecb 3mom 3Wl. 24• 3Mo- q1111 TaKoro po.n.a MO)KHO 060.HCHHTb COBIIa,lJ,eHHeM o6'beKTHBa KaMepbI c rJia3aMI13pI1TemI, l:JTO, KaK IlOJiaraeT ,lJ.)KeHMC fH6COH, BbI3bIBaeT y HeIIO,ll.rOTOBJieHHOrO 3pHTeJIH OIIMCaHHYIO BbIIIIe pe- aKI.\1110. B CBOeM pa6ore 06 3KOJior11qecKOM TeopHH BOCilpHRT:llil 23 CM. Kevin Brownlow, Pioniere des Films, Basel 1997, 26; Jerzy Toeplitz, Geschichte des Films 1895-1928, Mi.inchen 1979, 18, HJU1: Em.manuelle Toulet, Pioniere des Kinos, Ravensburg 1995, 17; insbesondere der eindrucksvolle Artikel von Stephen Bottomore, The Panicking Audience? Early cinema and the train effect', in: Historical Journal of Film, Radio and Television XIX/2 (1999), 177-216; Abweichend, Martin Loiperdinger, LumieresAnkunft des Zuges, in: KINtop 5 (1996), 37-70. 24 CM. I. M. Pacatus, ,,Fliichtige Notizen ·~ Nizegorodskij listok, Niznij-Novgorod, Nr. 182, 4. 7. 1896, zit. nachKINtop 4 (1995), 13. ,ll;mKe ~eCHTM./IeTIDI crrycT.R: I<HHO npOH3BO,ll.HJIO am1Jiorwr- HbIH a¢cpeKT Ha JIIO,ll.eM, CTOJIKH)'BillHXCH c 3THM MeAH)'MOM BnepBb!e. True B 1931 ro11.y B PYMl>IHCKOH ,D;epeBHH repoBeCTM Il0Ka3 tFHJibMa Bbl3BaJI CXO,ll;H)'IO namn<y M Hepa36epHxy, BO Bpe1vm KO'l'OpOH nocTpa.&ClJIM ,D;eCRTKH JIJOAei°:L 18 fH6COH OTIHCM COBpeMeHHbie HaM CJiyt1a11, KOr,ZJ;a IillHO B03,ZJ;eH- 25 CTBYeT Ha ny6Jrney cxo,ZJ;HbIM o6pa3oM • Cero,ZJ;IDI MbI c TPY/J.OM MO)KeM ce6e rrpe,Zl;CTaBMTb KaK JIHIIIeHHOe 3BYKa, qepHo-6enoe :KI1HO B006m;e crroco6Ho Bbl3bIBaTb IIO,ZJ;06JIYIO pea~IHO. 0,ZJ;Ha- KO OrJIBHY13Illl1Cb Ha3a,ZJ;, Mbl BIIOJIHe B COCTO.HHHH 06'bRCHHTb ee HOB113HOM C03,ZJ;aIOm:ero HJIJII03HIO Me,ZJ;HYMa, a TaIOKe ero Ha TOT MOMeHT HepacKpbITbIM IIOTeHu;HaJI cyrreCTHBHOro B03,ZJ;eHCTBH.H B peaJibHOM BpeMeHH. B HatiaJie CBOero rryr11 IillHO CTOJIKHYJIOCb c Heno,ZJ;rOTOBJieHHblM anrrapaTOM BOCIIpH.HTH.H H C03HaHHeM, em:e He cnoco6H:o1M o6pa6aTbIBaT:o ,ZJ;BH)l{~HecR, c11:Myn11po- saHHbie 11306pa)l{eHH.H. 0,ZJ;HaKO, eCJIH npHIDITb BO BHHMaHMe IIOXO)Kyro 6ypHyro pea~HIO, KOTOpyro rrepBbie naHopaMbI BbI- 3bIBaJIH y 3p11TeJieM, a TaIOKe yqecTb TO, tITO B 11CTOp11H ysen11- 1IMBaeTCR l(eIIh HOBblX cyrreCTHBHbIX H306pa)l{eHHH, IIORBJUI- IOIIJ;HXC.H 113 HHHOBal(HM B o6JiaCTl1 Me,ZJ;HYMOB, rrp0113BO,lVIII.l;HX MJIJII03HH, CTaHOBHTC.H 6onee MeHee IlOHJITHO TO nopa3HTeJibHOe B03,ZJ;eMCTBHe, KOTOpoe KHHO OKa3blBMO Ha Heno.z:i.roTOBJieHHOro 3p11TeJIB, npH :3TOM He TOJlbKO o6MaHhIBM, HO I1 BpeMeHHO rrpe- 0,Zl;OJieBaJI ero BHyrpeHHIOIO, IICHXOJlOrHtteCKyro cnoco6HOCTb ,ll;HCTaHl(HpOBaTbCH. TaKOM IIO,lJ.XO,Zl; K IIOHHMaHHIO B03,ZJ;eHCTBl1M pa3JIJ1t{HbIX Me,ZJ;HYMOB 3aHHMaeT u;eHTpaJibHOe MeCTO B KOMIIa- paTHBHCTKHX HCCJie,ZJ;OBaHH.HX HMMepcH:H: H :3MOIJ;HH. KoppeJUI- 1.l;H.H Me)l{,Zl;y TeXHHtieCKOM 11HHOBal(He:i1 B IIOCTpOeHHH 11JIJII031111 11 orpaHHlJeHHOM crroco6HOCTblO K BHyrpeHHeM)' ,Zl;HCTaHI(Hpo- BaHHIO MO:>KeT Ha HeKOTopoe BpeMH, o6yCJIOBJieHHOe KaK cyr- reCTI1BHbIM IIOTeHu;HaJlOM Me,ll.HYMa TaK I1 I1H,Z1;11Bl1,Z\YMbHOM ,ll;HCII03111(11eM: Ha6JIIO,ZJ;aTe.JIH, rrpeBpaTHTb OC03HaHHO rrepe.)1{11Ba- eMbie HJIJII031111 B HeOC03HaHHO nepe:>IillBaeMbie, ,ZJ;aB TeM Ca.Mbl.M 25 «l1.n.nl03M.H np11cyrCTBIDI MO:li<eT 6blTb ycH.JieHa np11eMOM, Kor- Aa KaMepa 3aHMMaeT II03~IO O,i\HOro 113 aKTepoB M IIOKa3bI- BaeT npo11cxo,wnu;ee c ero TO'IKH 3peHHR>>. James J. Gibson, Wahrnehmung und Umwelt, Der 6kologische Ansatz in der visuellen Wahrnchmung, Miinchen 1982 (1979), S. 321. Cp.: r116coH ~· 3KoAozutLecKui1 nooxoo K apumeAbHO.MY socnpu- Rmwo: ITep. c aHrJI. I 06rn;. pet\. 11 BcTyn. CT. A . .n;. JiorBMHeH- KO. -M.: ITporpecc, 1988. c. 418. -IIpU.M. peo. 19 KIDKym.e:i1c.R Bll,Zl.HMOCTH ,n;eticTBeHHOCTh peaJihHoro 26 • TaKHM o6pa30M, Kor,n;a Ha cu;eey BbIXO,ll;HT HOBbIM Me,ll;H}'M, crroco6HbIM rrp0113BO,ll;HTb IDIJII03HH, TO pacmHpHeTCH rrpoMe)KJTOK Me~y CHJIOM B03,n;eMCTBHJI o6pa3a c O,ll;HOM CTOpOHbI I1 OC03HaHHhIM, OTpeq)JleKCI1pOBaHHbIM ,ll;I1CT3HLl;HpOB3HHeM c ,n;pyroi1:. BCKOpe, IlOCJie HerrpepbIBHOro 11 "l!aCTO Herrpo.n;JMaHHOro MCITOJib30Ba- HI1.R 3TOT rrpoMe)KJTOK CHOBa Ha'4:HHaeT CJ)KaeTC5L IIpHBbIKaHHe CTa"l!HBaeT HJIJII03HIO, BCKOpe e:i1 J)Ke He ,n;ocTaeT CHJI, ~IT06bI o6MaHJTb C03HaH11e, OHa CTaHOBHTCH 6JieKJIOM, a 3pI-iTeJIH arra- TH"llHbIMH. IIp11 3TOM Mb! IIOCTerreHHO ITOJIYllaeM KOMIIeTeHu;Hro B o6pam.eHHI1 c TeM HJIH HHbIM Me,ll,11JMOM, 1ITO RBJIJieTCJI rrpe,n;- IIOCbillKOM ,ll;JIJI ero co,n;ep)KaTeJibHO-peq)JleKCl1BHOro Ji[ xy,n;o- )KeCTBeHHOrO I1CIIOJib30BaHHJI. 0,n;HaKO paHO HJII1 IT03,ll;HO 3TOT rrpou;ecc rrpepbIBaeTCH IIO.RBJieH11eM HOBOrO Me,ll;l1JM3, KOTOpbIM o6Jia,n;aeT em;e 6onbme:i1 np11BJieKaTeJibHOCTbIO ,n;JI.R rna3 11 em.e 60JibillHM cyrreCTI1BHbIM IIOTeHu;HaJIOM: TaKOM HOBbIM Me,n;H}'M OII.RTb BBepraeT 3pI1TeJI.R B rrpOCTpaHCTBO IDIJII03Hl1. OrrHCaH- HbIH MexaHM3M o6paTHOH CBH3M. Me.>K,ZJ,y HOBbIMI1, C03,Z\al0m;l1MI1 IDIJII031111 Me.n;HJMaM11, I1 crroco6HOCTblO 3pI1TeJIJI K .ll;I1CT3HL1;11pO- BaHI1lO MO)KHO TaK HJII1 HHat.Ie rrpocJie.n;11Tb B I1CTop1111 I1CKYCCTB 11 11cTop1111 Me.n;Ha EsponbI OT Cpe.n;HeseKOBbJI 11 .n;o HaIIIHX .n;HeI1. Cero,n;HR, KOr.n.a Mbl Ha OCHOBe Hameti B03pOCIIIeM KOMIIe- TeHu;1111 paccMaTpHBaeM rrpOH3BO,n;.fim;11e 11JIJII03..11I1 Me,ll.H}'Mbl, Mb! t:JaCTO CKJIOHHbl ou;eHI1B3Tb I1X cyrreCTBHbIH IIOTeHLl;HaJI KaK BeCbMa CKpOMHbIM, 1ITO, TeM He MeHee, COBCeM He COOTBeTCTBy- 26 Ha BCeMHpHOll BbICTaBKe 1900 I'OAa 6paTbR JlroMbep B rro- CJie,ll.HMH paa o6paTIDIHCb K qiopMaTy rraHopaMhl. OHM npo- ,n.eMoHcTpHpoBa.JIH tjjomopCIM.y, KOTOpM IIOKa3bIBa.Jia ,ll.Ha- npoeK~HIO, HCIIOJib3YR ,lJ.JIR 3Toro KHHOReHTY ,ll.RHHHOM n 90 caHTHMeTpOB H BbICOTOH B 11, rrpH 3TOM rmeHKa 6bma COrttyTa B IJ;HnHH,ll.p ,ll.HaMeTpOM OKORO 29 caHTHMeTpOB. )J,Be- Ha,n.~aTb CBR3aHHbIX c .zi;pyr ,n.pyroM aepKa.JiaMM o6'heKTHBOB OKpy>KaJIM AMCII03HTHB H mar 3a maroM, c COOTBeTCTB)'lOI.IJ;eH CKOpOCTblO rrpoen;HpOBaJIH H306pmKeHMe Ha CTeHy, B peaym:>- TaTe qero B03HHKMO nrre'l!aTneHHe 3aMKH)'TOll rraHopaMHOH Kapnrn:or.CM. Friedrich von Zglinicki, Der Weg des Films, Hildesheim 1979 (1956), 106. 20 eT 8 rreciarJieHH.HM cospeMeHHHKOB. Mo)KHO npe.n:rro110)Kl1Tb, qTO BBHAY MaJioro OilhITa TOr,lJ.alUHHX 3pI1TeJieH cyrreCTBHOe M 3MOll;HOH3JlbHOe B03,&eHCTBHe COBpeMeHHbIX HM Me,ZJ;H)'MOB 6bmO HaMHOro 3cpcpeKTHBHeH, 'lleM Mbl MOrJIM 6bl npe,ZJ;IIOJIO- )KHTb, pa60TM c HHMH ceiiqac. CMJia ,ZJ;eHCTBIDI Toro MJIH HHOro Me,ZJ;M)'M3, crroco6Horo npOH3BO,ZJ;HTb HJIJII03HM, HarrpRMYIO 3a- BHCI1T OT rrpe,ZJ;IIIeCTByIOrn;ero Me,ZJ;l1aJibHOro OilblTa 3pHTeJI.H. E.n;Ba JIM MO)KHO ,n;aTh }'HHBepcaJibHOe onpe,n;eneHHe TaKoif rereporeHHOH 0611aCTH Me,zr.Ha KaK Ta, qTo CKpbIBaeTC5l 3a IlOIDI- THeM «KHHO». Be,n;b HCTOpIDI KMHO rro,zr.pa3)'MeBaeT rrepMaHeHT- Hbie 113MeHeHH51, H Ka)KeTC5l, qTO ee CJie,n;yeT HCKaTb CKOpee cpe- ,lJ.H TblC5lq H TbIC5lq KHHOKapTHH qeM B TOqHbIX M pecpJieKCHBHbIX aHaJIM3aX OT,lJ.eJibHbIX Kl1HOJieHT. ,[{a H HeB03MO)KH0 oqepTHTb HeKyro roMoreHHYIO, H B TO)Ke BpeMR HarJIR,lJ.H)'ID cxeMy roro, 1!TO Ha3bIBaeTC5l 3THM CJIOBOM. Ho, TeM He MeHee, 3,ll;eCb CJie.n;yeT np11.n;ep)KHBaTbC5l xapaKTepHCTHKH, ,zr.aHHOH AH,lJ.peeM TapKOB- cKHM, KOTOpbIH onpe,lI.eJIBJI KHHO KaK 3MOU,HOHaJibHYIO peaJib- HOCTb, KOTOpM npe.n;ocTaBJIReTC.H 3pI1TeJIIO B KaqecTBe «BTOpOH peaJibHOCTH»: <PWLbM - amo l£yBcn1BeHHaR peWl.bHOCmb, u OH maK u aocnpUHUMaemc.R 3pume.JieM - KaK amopaR peWl.bHocmb. IIoamoMy ooBOAbHO w.upoKo pacnpocmpaHuaw.eecR omHow.e- HUe K qJUJlbMY KaK K 31-laKOBOU cucmeMe KQ31Cemcfl. MHe 2Jly6oKO u npuHu,unua.J1.bHO ow.u6ol.£HblM 27• KHHO Hau;eneHo Ha Henocpe.n;- CTBeHHO qyBCTBeHHOe H 3MOU.I10HaJibHOe BOCIIpM5ITHe, KOTopoe .n;aeT pe)KI1CCepy 6e3yCJIOBHYIO BJiaCTb Ha,ll; 1IYBCTBaMH 3pI1Te- Jieii, a HeKOTOpbIX KHHOxy,n;O)KHHKOB ,lJ.a)Ke rrp11BO,lJ.11T K HeOC03- HaHHOH caMOHJIJII03HH ,&eMHypra. I1MeHHO TaKa.H cyrreCTMBHa.H 3HeprH51 cpMJibMa .HBJIReTC.H OCHOBOH BJiaCTH H cyrreCTHBHOrO IIOTeH1:~11aJia BH3Y3JibHblX Me,n;Ha, HCXOM H3 KOTOpbIX MO)KHO roBOpHTb 06 OTBeTCTBeHHOCTH pe)KHCCepa 11 orrepaTopa. ToJibKO T3KM rrepcneKTHBa - HKOH11qecKoe ITOHMMaHMe KHHO - 06'b.HCHHeT CHOBa H CHOBa KOHCTaTHpyeMbie B HCTO- p11H KMHOMCKyccTBa ITOilbITKH ,lJ.OCTHqb IIOJIHCeHcopHOCTH. 27 Andrey Tarkovsky, Sculpting in Time, Reflexions on Cinema, Austin/Texas 1986, 176. 21 4>11/lbM KaK cyrrecrnBHblH MeAl1YM TaKHe ycrpeMJieHHH IIO,lJ;tIHHeHbI O,lJ;HOM OCHOBHOM TeH,ZJ;eH- IJ;HH - pacIIIHpHTb HJIJII030pHyIO <PYHKIJ;l-UO o6pa3a, 3aXBaTHB B CBOe ITOJie He TOJibKO rJia3a, HOH .n;pyrHe opraHhI tJ:YBCTB. TaK B reqeHHe BCero xx CTOJieTHH MO:>KHO npocne,n;HTb IIOCTOHHHO IIOBTOpHIOI.qeeCH IIOIIbITKH Me,lJ;H}'Ma KHHO rrpeo,n;oJieTb ,n;Byx- MepHyro rrpoeKu;1uo KHH03KpaHa, tIT06b1 yc11n11To cyrreCTHB- Hoe B03,n;eiicTBHe Ha 3pHTeJI.R: y:>Ke B ,lJ;Ba,n;u;aTbie ro,n;bI HCTO- pMH TpexMepHoro KHHO B Coe,n;HHeHHbIX illTaTax HatJH:HaeTCH c Bhixo.n;a rrpoeKTa Teleview (1921) 28 • Pa3HOu;BeTHoie npoe1<- u;1111, KOTOpbie 3pHTeJIH CMOTpeJIM qepe3 .n;syxu;BeTHOe CTeK- JIO, co3,n;asanH or.qyr.qeH11.R o6'beMHhIX H3o6pCl)KeHHi1 29 • TaIOKe H 3IIOXaJibHbIH cpHJihMA6eJIJI faHca «HanoJZeOH» (1926-1927) nepaoHatiaJibHO rrpe.n;rronaran TpexMepHbie cerMeHThI. 0,n;Ha- KO Ha rrpe,n;BapHTeJihHbIX IIOKa3aX KHHOKapTHHbl OHH 6bIJII1 28 CM.: Zone, Ray Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952. -University Press of Kentucky: Lexington, Kentucky: 2007, P. 107ff. CTepeomIBo npe~rnecTBOBan:11 «06'heMHbie» .z:rrranpoeKIJ;HH. PacrrpocTpatteHHbIH Bo nceM MMpe HatIHHM c XVII BeKa Laterna Magica I1JIH «BOJIIIIe6- HhIH ¢oHapb» IIOKa3hlBM II0~06Hhie npoe1~1111, I1 B ¢opMaTe TeaTpaJihHOH ¢aHTaCMarop1111 np116m1JKaJIC5I !{ BhICOKOI<a- qecTBeHHbIM 3D 11mno3IDIM. CM. D. Robinson, The Lantern Image, Iconography of the Magic Lantern 1420-1880, Nutnay 1993. Zur Vorgeschichte des Kinos auch, Laurent Mannoni, The Great Art of Light and Shadow, Archaeology of the Cinema, Exeter 2000; ErkkiHuhtamo,Elements ofScreenology, Towards an Archaeology of the Screen, in: Iconics 7 (2004) (The Japan Society of Image Arts and Sciences), 31-82. CM. Ta10Ke: Xyx- TOMO, 3. 3JieMeHThI sKpaHOJIOrl1I1: K npo6JieMe apxeoJior1111 Me~11a. 11 3KpaHHM 1<yJI1>Typa. TeopeT11qecKHe npo6neMbr: c6. CTaTeH I OTB. pe~. K. 3. Pa3JIOfOB. - ens.: )lMHTpHH Ey- JiaHHH, 2012. C. 116-174; Huhtamo, E. Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles. MIT-Press, 2013; rpay 0. <PaHmaCMa2opu4eCKOe 8U3YQJlbHOe KOJlOOBCmBO 18-020 cmoJlemwi u ezo :JICU31ib 8 Me- ouaucKyccmee. I nep. c HeM. I I Me~yttapo.D,Hhri1 .>KypHaJI 11cCJie.n.onatt11i1 KYJibTypbr. - 2012. N25(6). -C. 101-110. - IIpUM. pea 29 R. M. Hayes, 3-D Movies, A History and Filmography of Stereoscopic Cinema, Jefferson, NC 1989, 5. 22 <l>r.tnbM KaK cyrrecTMBHblH MeAMYM BOCTip 11Hf!Tbl KaK CJI.11lllKOM IlO,ll,aBJif!IOm.11e, 11peBOCXO,D,Hm.11_e .zxroKe TOT BIIe'tlaTJIJIIOm.11li s¢¢eKT, KOTOpbIH rrp0.113BO,ll,.11Jia rra- aopaMa, 1cor,D,a .11306pa}f(eH.11e ,D,eMOHCTp.11pOBaJIOCb O,ll,HOBpe- MeHHO Ha HeCKOJibKMX (Ao Tpex) 3Kpattax. Pa,D,H Toro, 'l.:J:To6hI BneqaTJieHI1H OT ;:i;ByxMepHOH '43CTI1 cp.11JibMa He 6bIJI.11 CKpa- meHbl KOHTpacTOM c o6'beMHl>IM.11 Cl.J,eHaM.11, faHC IIOCllMTaJI Heo6xo.n;.11MbIM Bhipe3aTh nocJie,ll;HMe 30 • CoBepllleHHO HeO}f(M,D,aHHO K rrpopoKaM Me,D,11a xy,D,o:>Ke- CTBeHHOH .11JIJI103.1111 MO:>KHO rrpHllHCJIHTh CepreR 3i13eHlllTeli- Ha. Eme B 1940-e rO,ll;hI, OH ou;eHHBaJI KHHO KaK Ha.11BbICIIIYIO CT3,ll,Hl0 pa3BHT.11H HCKYCCTBa. B HaITHCaHHOH HM He3a,ll,OJiro .uo cMepTH CTaTbe «O CTepeOKHHO» 3if3eHillTeMH o6pHCOBaJI CBOe BH,ll,eHHe rrpe,D,CTO.fIIUeH peBOJIIOU.1111 KI1HOOIIbITa: rpH.zzy- mee H306pCl)l(eH11e, BOCIIpMHHTOe B Ka'4eCTBe peaJLbHOU mpex- Meprwcmu - 3i13eHlllTeMH He ,D,aeT HHKaKHX TeXHl1'4eCKl1X pa3'bllCHeHI1H - 6y.n.eT 6yKB3JlbHO BblBaJlUBambC.R B 3pHTeJib- CKHH 3aJI 31 • KapouttaJLbHa.R tteo6xooUMocmb B TaKoM KOHTeK- 32 cre rrp11,D,aeTcH o6'beMHOM)' 3BYKJ • TaKoi13BYK rro3BOJIHJI 6h1 pe:>K11ccepy 3QKJZ10t/.Umb 3p.H.TeJie:M:, a ny6JI11Ke Hao6opoT, noJZ- 7-LOCmb10 no2py3umbCR e MOl.4b 3ByttaHU.R 33. Y:>Ke B 1940 ro.zzy 3ii3eHlllTei1H, B,ll,OXHOBJieHHblM IlOJIHOMeTPCDKHbIM M)'3bl- I<8JibH bIM MYJihTRIIJIRKaU.HOHHhIM ¢HJihMOM <«Pauma3un» YOJITa ,ll;HCHe.fI, XOTeJI, '4T06bl 3pHTeJil1 B 3aJie 6bIJIH OKpJ:>Ke- HhI ay,D,MOKOJIOHKaMM. Tip.H. 3TOM COBeTCKl1M KHHOpe}f(MCCep HfHOpttpyeT Te3.H.C 0 TOM, 't!TO 3ByK 11 I1306pCl)l(eHHJI Heo6xo- )J;HMO IlOHHMaTb K3K He3aBHCI1Mbie .n;pyr OT ,D,pyra 3JieMeHTbl MOHTa:>Ka. HecMOTp.H Ha 3TO, OH pacII03HaJI B I1306pa:>KeHHli HeI13BeCTHbIH npe:>K,D;e IIOTeHI..\li3JI IIJiaCT11'tlHOCTH I1 ,ll,B:H:>Ke- 30 Ebd., 9. 31 Sergej Eisenstein, Ober den Raumfilm, in: de rs., Das dynamische Quadrat, Schriften zum Film, hg. von Oksana Bulgakova u. a., Leipzig 1988, 196-261, hier 199. CM.: :)'i1:3eHIUrevrn C. 0 cme- peoKuH.o. -B c6.: 3ibeHllITeM:H C. HepasHoaywHa.R. npupoaa. i\1., 2004, T. 1. -C. 339. -IIpUM. peo. 32 Ebd., 235. 3iheHIIITei1H C. Uum. col[. C. 367. 33 Ebd., 235. 3:H:3eHIIITe:t'rn C. [(um. COi.[. C. 367. 23 TpMyM<f> eonM HM.H - noTeHIJ,mo M HanpaBJieHHOCTb, KOTOpbie IICHXOJIOrM- qecKM nepeHOCiiLJIM 3pl1TeJIR M3 ero cpaKTMtieCKOro OKp)')I<eHMR B BI13YaJlbHDIH MHp TpexMepttoro KMHO<l:>MJibMa. BoKa6ynnp rroTepM ,n;11cTaHu;1111 - no2py:>1camb, 3aKJZ10t.tamb, nepe.J1.uaamb, BblBQJlUBQmbCR 6e30illH60tIHOro yi<a3bIBaeT Ha OCHOBH}'IO Hti;ero - O»rn,ll;aHHe B 6JIIDKalimee BpeM.H IIOJI)ltIMTb B CBOe pacrropJI)KeHMe TaKOH Me,n;eyM, KOTOpblH BttyrpH MMMepCHH crroco6eH o6'be,l.I;HHHTb H306pa)!{eHMe co CBOHCTBeHHbIM co- BpeMeHHHKaM caMOC03HaHHeM H annapaTOM BOCilpHHTMJI: M mo, t{mO Mbl npUBbLKJlU BUOemb U306pa:>1CeHUeM HQ TVWCKO- cmu 3Kpana, BHe3anHO «3Q2JlQmbLBaem» HQC B HeBUOQHHY10 pa- Hee 3Q37<.paHHY10 OQJlb wiu «BOH3aemc.R» B Hae c HUK02oa npe- :>1coe HeOC}'l4eCmBUMOU CUJlOU «Hae30Q» 34. Sa 12 JieT ,n.o rry6nHKa~1111 cTaThM 3-HaeHmTetiHa B cBeT BbI- illlIO O,ll.HO 113 Ha116onee BIIe"tiaTJIRIO~HX CBM,ZJ;eTeJibCTB Toro, KaK c IlOMO~bIO BI-rnyaJibHI>IX Meti;Ma MO)!{HO IlJiaHHpOBaTb H IlpOI13BO,ll;I1Tb 3MO~I1I1. 0paKTI1tieCKI1 BO BCeH KHHOBe,n;qecKOH JIMTepaTYPe «TpuyM<jj BOJZU» ynoMMHaeTCR Kai< «Ha:H6onee s<P- <PeKTHBHbIH cpM1IbM-nporraraH,n;a xx CTOJieTHR». «B o6JiaCTH BI-i3yaJibHoro - OTMeqaeT COBpeMeHHHK cpl11IbMa 311r<Pp11.n; KpaKaysp - aKTHBHO 11cnoJibayeTCR TO 06cToJITeJibCTBO, qTo I1306pa)!{eHHR B03,n.ei1CTByIOT Henocpe,n;CTBeHHO Ha Haruy Hepattyro c11cTeMy. Pa3JIM"tJHbie cpe,n;cTaa np11MeHRIOTC.H rorn Toro, 4T06b1 BbI3BaTb y rry6n11K11 orrpe,n;eneHHbie 3MO~Hl1» 35 • 34 Ebd., 201. 3ibeHUITeiIB c. aum. COii. c. 340. 35 Siegfried Kracauer, Von Caligari zu Hitler, Eine psychologische Geschichte des Deutschen Films, Frankfurt a. M. 1977 (1947), 326. PaAyeT TO, qTo ceJ1qac rry6mu<yeTCR 113BecTtta.H pa6oTa KpaKay3pa Macca u IIponazattaa, KOTopyro OH ttarrnca11 rroA BneqaTJieHMeM OT BM3YaJibHOH rrpOAYKqID[ H81.l;MOH8Jl-C01.l;J18- .IIH3Ma BO BpeMR CB aero T13rHaHH.Si B ITapIDKe. CM.: 311r<ppI1A Kpa1<ay3p. IIponazattoa u Ha4ucmcKuu eoeHRbLu </JUllbJlt. - «KHttone.i:i;qecKHe 3anHCKH», 1991, N!! 10; KpaKay::>p. 3. Op- Ha.MeHm Maccbt 11 Honoe JIHTepaTypHoe 0603peID1e, 2008, 24 ,a.JUI JieHH P11cpeHI11TaJib «TpuyM</J BOJlU» 6bIJI BTOpbIM IIOCJie «llo6eabL BepbL» 1933 ro,D.a cpMJibMOM 0 rrapTMHHOM C'be3,D.e. HC,aPTI o6n5IBMJia cpHJibM ,ll,OKJMeHTau,Me:H: M aKTI1BHO ytra- CTBOBaJia B ero rrpOH3BO,ll,CTBe, 6ecnpeI.J,e,D.eHTHbIM o6pa30M noMep>KMBM pe)lillccepa so apeMH C'beMOllHoro npou,ecca. JieHM PttcpeHillTaJih yraep)l{,ZJ.aJia: «EII.J,e HMKOr,D.a B M11pe rocy- ,n;apcTBO TaK He cnoco6cTBOBaJio C03,ll.aH1110 cpMJibMa» 36. To.Jib- KO B OCHOBHYJO C'beMOllHYJO KOMaH,D.y BXO,lJ.HJIM 170 qeJIOBeK, H3 KOTOpbIX O,lJ.HMX onepaTopoB 11 KMHO- aCCI1CTeHTOB 6bIJIO 35 qeJIOBeK. ,l(JUI Toro, llT06bI C'beMOllHbie pa60TbI rrpoXO,lJ.M- JIM 6ecrrperrHTCTBeHHo, CA 11 CC l13,D.an11 coTHM yKa3oB, c6.n YI- )J{arolll;:11x CTPYKTYPhI n apTH:H:ttoro ann apaTa co cneMoqtto:H: rpyrrno:H: 37• B I.J,eJIOM, 6b1.JI0 rrpocaeqetto OKOJIO 128 000 Me- 38 TpoB KI1HOIIJieHKM , qacTb KOTOpo:t'i M3Ha'lla.JibHO rrpe,D.Ha3Ha- qa.JiaCb ,ll;JI5I C'beMOK HOBOCTHbIX CIO>KeTOB, ,D.eMOHCTpMpyeMbIX B KMHOTeaTpax, llTO K 60.JiblllOMY oropqeHHIO re66eJibCa OCTa- HOBMJIO MX npOM3BO,ll,CTBO Ha HeCKOJibKO He,ll,eJib. KpoMe Toro, PYicpeHillTaJib TffK>Ke IIOJiyq11Jia Kl1HOIIJieHKM HHOCTpaHHbIX N2 92, c. 69-77. -flpWvi. peo. 36 Leni Riefenstahl, Wieder Film vom Reichsparteitag entsteht. ,,Noch nie in der Welt hat sich ein Sta.at derartig fiir einen Film eingesetzt", Eine Unterredung rnit Leni Riefenstahl, in: Magdeburger Tageszeitung (13. 1. 1935). CM. aHaJIBTMKY «TpM)'Mcpa BoJIM»: Frank P. Tomasulo, The Mass Psychology of Fascist Cinema, Leni Riefenstahl's Triumph of the Will, in: Close Readings of Documentary Film and Video, hg. von Barry Keith Grant, Detroit 1998, 99 -118. 37 CM. Claudia Lenssen, Unterworfene Gefiihle, Nationalsozialis- tische Mobilisierung und emotionale Manipulation der Massen in den Parteitagsfilmen Leni Riefenstahls, in: Emotionalitiit. Zur Geschichte der Gefiihle, hg. von Claudia Benthien u. a., Koln 2000, 198-212; ebenfalls: M. Loiperdinger, Triumph des Wil- lens -VI. Reichsparteitag der NSDAP in Niirnberg, 4. - 10. September 1934, (Institut fur den Wissenschaftlichen Film Gottingen), Publikationen zu Wissenschaftlichen Filmen, Sek- tion Geschichte Publizistik, Serie 6, Nr. 4, 1989, 16. 38 CM. Deutsche Allgemeine Zeitung vom 15. 12. 1934, ,,Aus 128 000 Metem werden 3000. Mit Leni Riefenstahl an der Arbeit". 25 J(OMIIaHHH 39 • Pe3yJibTaT npe,n;cTaBJIIDI co6oti 113-MHH}'THoe 3B}'KOBOe KHHO, MCilOJib3yIOil.l;ee TOJlbKO rurry10 qacTb OTCIDI- Toro MaTepHaJia. Bb1xo.n; ¢11JibMa B npoKaT 6bIJI IIOMep)I<aH MaCCHBHOH KaMIIaHHeH B rrpecce, a noceru;eHHe KHHOCeaHca B03Be,n;eHo IIapTHHHOH nponaraH,n;oti 11.0 crazyca rpIDKIJ.att- CKoro .n;onra. B anpeJie 1935 ro.n.a o.n;HoBpeMeHHO B 70 HeMerr.- KHX ropo.n;ax 40, KaK ecJIH 6bI 3TO 6bIJIO ,n;eJio rocy.n;apcTBeHHOH BIDKHOCTH, «TpuyM<fJ 8011.U» 6bIJI BbmyIIJ;eH B rrpoKaT cry.n;HeH UFA. <l>HJibM .n;o6pano1 11.0 acex yroJIKOB repMaH1n-1 H CMor HacqHTaTb 6oJiee 20 MMJIJIHOHOB 3pI1TeJieM - peKOp,D.HbIM pe3yJibTaT, c KOTOpb!M He MOryT KOHKypMposaTb <)?MJihMbI Hamero speMeHH. ITp11MeqaTeJibHO, l.!TO .n;JIR ycHJieHHJI HM- MepcHBHOro rrepe)!iliBaHHJI H 3MOI(HOHaJibHOrO 803,ll;eMCTBMJI IlOMeru;emrn MHOrHX KI1HOTeaTpOB 6bIJIH yKpameHbl CHMBO- JIHKOH rrapTHllHOro C'be3.n;a, KpoMe Toro BCl)l(HQCTb MOMeHTa IlO,lJ.tiepKHBaJiaCb MY3blKOll H peqaMH, a TaIOKe OTKa30M OT /1,0 - IlOJIHHTeJibHOll KHHOrrporpaMMbl. UeJib!O TaKoro KHHOOIIbITa 6bIJIO Ha rrpO,ll;OIDKHTeJibHOe speMR o-qaposaTh I1 B3BOJIHOBaTb 3pHTeJIH, a TaJOKe Il0,ll;'tll1- HHTb I1 3arryraTb ero, TeM CaMbIM opraHH30BaB H CTa6MJIH- 3HpOBaB ero rroMep)l(K]'. CaMa PH<)?eHmTaJib TaK orrHCbIBaJia CBO!O rr.eJib: «~Ba MI1JIJIHOHa HeMI(eB MOryT 6e3 Tpy.zi:a co- 6paTbCJI Ha IIapTHllHOM C'be3,D;e B H!OpH6epre, 60 MMJIJlliOHOB HeMI(eB ,ll;OJDKHbl CTaTh CBH,l(eTeJIJIMI1 3IIOXaJibHOro co6bITHH, OHM ,ll;OJI)J<Hbl nepen<HTb, ITO't{}'BCTBOBaTb BOJIHeHHe 3Toro MO- MeHTa» 41 . B TOM n<e I1HTepBbEO PH<)?eHmTaJih roaopHT o B03- 39 TaKMe KOMnaHIDi KaK Fox, Tobis-Melo, Paramount 11 Apyr11e npeJJ;OCTaBIDIH B pacnopruKeHIDi C'beMO'llHOH l<OMa:H,l\bl «Tpu- YM<f>a BOJlU» BCIO HMeIO~YJOCH y HMX IDieHJ<y. 40 Triumph des Willens vollendet. Festliche Urauffiihrung in Berlin, Am 5. April Erstauffiihrung in 70 deutschen Stadten, in: Volki- scher Beobachter, Norddeutsche Ausgabe (23,5,1935), 41 Leni Riefenstahl in: Der Deutsche (17. 1. 1935), zit. nach Her- bert Heinzelman, Die Heilige Messe des Reichsparteitages, Zur Zeichenspache von Leni Riefenstahls Triumph des Willens, in: In- szenierung der Macht, Asthetische Faszination des Faschi.smus, hg. von der Neuen Gesellschaft fi.ir Bildende Kunst, Berlin 26 I1JIJ1. 3. C4e1·wzpaifn1J1. Ha <jiacaoe oaop4a Ye.PA BOeHb npe.Mbepbl «Tpuy.M<fia 8011 u,,. B3nmo u3: Dieter Barteztko: Illusion in Stein, Reinbek bei Hamburg 1985, p.148. ,D.eMCTBMM Ha 3pI1TeJie:H:: «R C,ll,eJiaJia cpHJibM TaKMM o6pa30M, tJT06hI OT aKTa K aK"ry, OT BTietiaTJieHIDI K BneqaTJieHIUO OH ace 60.Jiee nop;q11IDIJI I1 pa3pbIBaJI 3pI1TeJI.H. BHYTpeHH.H.H ,ll,pa- MaT)'prM.H TaKoro nocTpoeH11.H )')Ke co.n:ep)l(aJiaCb B Kl1HOMaTe- p11aJie M3 HropH6epra. KaK TOJihKO pel{11 11 ceHTettu;1111, 1130- 6pa)l(eH11JI Mace 11 roJIOB, MapIIII1 H M)'3hIKa, KapT11HhI Hoq11 11 ,ll.H.H B HIOpH6epre CMeIIIMBaIOTC.H B e,z:t;11HOH CI1McpOHI1H, OHI1 CTaHOB.HTC.H C03ByqHbI CMbICJIY HIDpH6epra» 42 • ITpecJie,ll,y.H no,ll,o6HyIO u;eJih, P11cpeHIIITaJih CTPYKTypHpyeT BpeMR napTHHHOro C'be3,ll,a B cpI1.7IhMe OTJIHqHQ OT HCTOpHqe- CKOro co6bITllil. B ,n;eHCTBI1TeJibHOCTI1 MeponpH.HTH.H JJ;JII1JII1Cb 7 1-J;HeH, Tor.n.a KaK cpI1JihM 3aneqaTJieBaeT HCKYCCTBeHHhIH Bpe- MeHHOH KOHTHHYYM npO,ll,OJI)l(MTeJibHOCThlO 3 ,ll,IDI. K8)!(,ll,hIH ,ll,eHb OTJJ;eJieH OT ,ll,pyroro HOqHQH cu;eHOH I1 pa3JJ;eJieH Ha CI1TY- al.l;I1I1: Ha"l!I1Ha.H OT np11JieTa fHTJiepa I1 3aKaH"l!I1BM 3aI<JIIO"l!I1- TeJihHbIMM Meponpl1.HTI1HMI1 C'be3,l.l,a. EpocaeTC.H B rJia3a TO, "l!TO «TpuyMif> BOJZU» HHKaK He KOMMeHTHpyeT co6bITI1.H rrapTI1HHO- 1987, 161-169, hier 163. 42 Ebd. 27 TpKyM<f> eon1.1 ro C'be3,ll.a, He KacaeTCR qMCJia yqaCTHMKOB, rrpoTeKaHMR Mepo- IIpl1HTl1H IDil1 oco6eHHOCTeH rrporpaMMbl, ,ll.a.JKe BpeM.rI M MeCTQ 3arreqaTJieHHbIX co6bITl1H HM pa3y He Ha3bIBaIOTC.H 3p11TeJiro. ~ei1cTBl1e cl>MJibMa cKJia,ll.hIBaeTC.H 113 qepe,ll.0BaH11H rrpou;eccttli 11 Mapmei1, TOp}!<eCTBeHHbIX rrp11BeTCTBI1M M OTpbIBKOB l13 BbI- CTyruieHMM, a TaIOKe )KaHpOBbIX I1306paJKeHMM, rrepe,ll.aIOIIUiX TO IDII1 MHOe HacTpoeHMe. YIIJIOTHeHMIO BpeMeHM COOTBeT- CTByeT 3aMeHa peaJibHbIX MeCT rrpoBe,ll.eHHH MeporrpI1.HTI1H Ha o6o6~eHHhie 11 yH11BepcaJibHb1e - yJI11ey, 3aJI 11JI11 none, rrpM 3TOM, cpl1.JibM He co,z:i;ep)KMT HHKaKHX rrpocTpaHCTBeHHblX orpa1-111qeHMM, C03,ll.aBaJI TaKMM o6pa30M 3cpcpeKT 6eCKOHeq- HOCTM M BHeBpeMeHHOCTI1. EoraTbIM CHMBOJII1qecKI1M Karri-nan MMrrepcKoro ropo,ll.a, COCTO.H~MM M3 CMec11 IIOJII1TI1qecKMX, ca- KpaJibHbIX, HapO,ll.HhIX 11 BOeHHbIX 3JieMeHTOB, 6bm HM3Be,ll.eH HaI..J;l10HaJI-COI..J;I1aJI11CTaMM .n;o ¢aca,ll.a, B KOTOpOM He HaIIIJIOCb MecTa ,ll.Jl.H llOBCe,ll.HeBHOCTI1, rrpOMhIIIIJieHHOCTI1 M )K11JihIX KBapTaJIOB. c IIOMO~bIO BM3YaJibHOM CMMBOJil1KI1 6bmo rrpo- 113Be,n;eHo cJIM.HHMe peaJihHoro HropH6epra c rrceB,ll.ocaKpaJib- HhIM, MHCI..J;eHMpOBaHHbIM fHTJiepOM. P11¢eHII1TaJib He IIOKa3hIBaeT Hapo,n:Hhie MaCCbI IIOJIHOCTbIO aHOHMMHbIMl1. 113 TOJIIIbl IIOCTORHHO BhlphIBaIOTC.H OT,ll.eJibHbie JII1I..J;a, KOTOpbre rrpM C'beMKe CHM3Y BBepx M MaCCI1BHOM MCIIOJih- 30BaHI1M CBeTa CTaHOB.HTC.H ap11MCKMMl1 H.1111repOM:qeCKl1MM,110,ll.- TBep)K,ll;a.H pacoayro TeopMIO. Oco6eHHo r.rry6oKo 3MOI.J;MOHaJibHhI, a B napaJIJieJibHOM MOHTffiKe c fMTJiepoM ,U.a.JKe 3p0TM:qeCKM 3ap.H- )KeHbl, JIMI.J;a )KeH~I1H, KOTOpbie OTpmKaIOT npe,ll.aHHOCTb M cny- )KaT rrpoeKI.J;11e:i1 co6CTBeHHOH npMBJieKaTeJibHOCTM ,U.JI.H 3pMTeJIR. ITpMMeqaTeJibHO, qTQ PM¢eHIIITaJih HMKor,zr.a He IIOKa3bIBaeT JIIO- )J.eH, CMOTpR~I1X rrp.HMO B KaMepy. ~BM)KeHHHMM KaMepbI rrpo- CTpaHCTBO, 11 3TO IIO,ll;TBep)KJJ.aeT TaK)Ke COBpeMeHHMK co6bITHM 3. I1aHo¢cKM, KmKeTCH ,ll.MHaMM:qHbIM. 43 c IlOMO~bIO MOHTmKa, a KaK rrpaBMJIO rrpHMeH.HJiaCh TeXHHKa rrapaJIJieJibHOro MOHTmKa, 43 Erwin Panofsky, Style and Medium in the Motion Pictures (1936), hier in: Three Essays on Style, hg. von Irving Lavin, Cambridge 1995, 96. 28 co3,n;aBa.JUICb HCKYCCTBeHHbie OTHOI.IIeHYUI B3r.JIH,n;a, CKOHQeHTpI1- poBaHHOf0 rrpaKTWieCKM HCKJUQqHTeJibHO Ha fl1TJiepe. c rro- MOIUblO cso?i:cTseHHhIX M11cpy rrpMeMoB, P11cpeHIIITaJih ycIDIHBa- eT 11 rrpeB03HOCMT f11TJiepa KaK 11K0Hy. Eonee - rrocpe,n;cTBOM Kp)l)K3UJ;I1ll BOKpyr o6'beKTa C'beMKH KaMepbI, ycIDIMBaeTar ero npMCYTCTBHe 11 C03,n;aeTOI srretiaTJieHHe, qTo cp10pep MO)KeT BbI- xo,n;MTb 33 rrpe,n;eJibI cBoero Herrocpe,n;cTBeHHOro s113yaJihHoro 44 11 aK)'CTI1'IeCKOfO rrpHCYTCTBIDI B ¢IDibMe • I1pMBbJtIHbie ,ll;JIH H3C cero,n;IDI, BCTpeqa10~11ecH rrpaKTI1'IeCIOI B KIDI{,ll;OH KapTI1He cpe,n;cTBa 3MOQMOHaJibHoro B03,n;ei1cTmrn, P11cpeHIIITaJib (s,n;ox- HOBJieHHCUI COBeTCIGIMI1 pe)KJICcepaMH) BrrepBbie rrpMMeHMJia H3CTOJibKO .MHTeHCI1BHO. B oco6eHHOCTH KHHeMaTorpacl>11tieCKOe c6JIIDKeHMe, o6~HOCTb M3o6pIDKaeMbIX repoeB rrp0.113BO,lJ.MJia Ha 3pl1TeJiei1 rpatt,zr.M03Hoe srretiaTJieH11e. CeHcau;HoHHhIMH 6hm11 11 C'beMKM c 60JibIIIOH BbICOTbl, KaK HarrpMMep, B cu;eHe TpaypHOM ~epeMOHI1H, B KOTOpo:H 3pl1Te.JIHM Ha HeKOTopoe BpeMH IIOKa- 3bIB310T 160 000 COJI)J.aT IIITypMOBbIX OTPMOB, MOJitia CTOR~HX 45 B cpopMe 'lleTbipexyrOJihHHKa • c rrpttc~ei1 CKOpee po6ory, qeM l:!eJIOBeey CMHXpOHHO- CTblO - cero,n;HR T3KI1e C'beMKH 6bIJIM 6bI 3aMeHeHbl KOM- IIbIOTepHOH aHMMau;11ei1 - reoMeTpHtieCKH BbICTpoeHI-Ibie MaCChI, rroKa3hIBaeMbie c pa3JIJiqHbIX paKypcos, rrpespa~a- 44 Kpaimysp n11IIIeT: «"TpJiYMcp Bo;n1" norpy)!{ae'tCH B 6ecKoHetI- Hoe ABl1)!{eH11e ..• ,UBH)!{eHHe, KOTopoe co3.n;aeTCR KaMepoii, 3a- MeIDieT 11 .n;orroJIIDieT ABli)!{eHIDI o6'beKTa. KaMepa nocTOR:HHO ,ll;BH)!{eTCR B CTOpoey, BBepx Ii BHli3 - TaKHM o6pa30M, tITO 3pliTeJili He TOJibKO BHMT rrepe.n; co6oi1 ;urxapa.n;oqHbIH MHp, HO H qyBCTBYlOT ce6JI B HeM OTTOprH)ITblMli. BcenpHCYTCTBY· 10m;ru1 KaMepa 3aCTaBJUieT liX CJie,ll;OB8Tb H€B03MO)l<HeMilll1MJ1 TIYTRMH, a MOHTa)!{ yttOCITT MX em;e )!{aJibllle. KmKeTCR, '-ITO 3,ll;€Cb ,ll;Bli)!{eHM:e 110JIHOCTb10 norJIOTHJIO cy6cTarru:mo, }KI13Hb cym;ecTByeT Terrepb TOJibKO Kaf( rrepexo.n;Hoe COCTOJIHJ1e.» CM. Kracauer [npHM€'-IaHMe 35], 355. ,UHCKYCCliJIM co CBOHMH CTy.n;eHTaM B YJiHBepCHTeTe f}'M60JibT8 5I o6JI3aH BlDKHbIMH B 3TOM KOHTeKCTe Ha6JIIO,ll;eHIDIMJ1. 45 CeHCaUMOHHOH 6bma I1 HHHOBaTHBHaJI CbeMI<a c B03.n.yxa, npo11ano.z:111BruaJICH c caMoneTa D/PN30, a TaK)!{e c'beMKa C TIOMOlll;hlO BbICOKI1X KpaHOB. 29 JIHCb B HCIIOJIHHTeJieH pH'ryaJia. Ka3aJIOCb 6bI 6ecKOHetiHbie pa3]J;eJieHH.H, IIOCJie,l{OBaTeJibHOCTH 11 IlOBTOpeHH.H, C03.ZJ;aBaJI11 HeBM.l{aHHoe BneqarneHHe aBTOpHTapHoro pyKOBO.ZJ;CTBa, BI1- 3yaJibHO rro.z:i;qepIGIBaIOrn;ee rrpeBOCXO.ZJ;CTBO fHTJiepa. cDHJibM BrrepBbie II03BOJI.HJI 3pHTeJIIO, 33IlOMHHBIIIeMy fHTJiepa Ha napTMHHOM C'be3.z:i;e KaK RpOXOTHyro cpnrypey B,ZJ.aJieKe, nepe- )Kl'ITb rrpHCYTCTBIIe 33HHMaIOrn;ero BeCb 3KpaH cDIOpepa, CHH- Toro CHH3Y BBepx. lliHpOKHe rrpocrpaHCTBa TeppHTOpMH rrapT11HHbIX C'be3.ZJ;OB, o6'be.ZJ;HH.HIOII.J;He ropo.z:i;, He6ocBO,l{ M 6ec- KOHel:!ttyIO HQqb ern;e 11 cero.n;HH HaCTOH\IHBO aneJIJIHPYIDT KKaTerop11H B03BbIIIIeHHOrO 3.ZJ;Mytt.z:i;a BepKa H CJie,zzyiorn;eMy 3a Hew OTBparn;eHHID 46 • Cero,n;H.H MaccoBhie p11TYaJihI Hau;Ho- HaJI-cou;HaJIHCTOB 11 l1X TOTaJIHTapHa.H IlO,llOIIJieKa Ka>KYTCJI HaM 6e3BKYCHbIMH. Ho ern;e B 1930-e rO.ZJ;bl «OpHaMeHT MaCC», CHMBOJIH"l!eCKa.H cpopMa TOTaJIHTapH3Ma, Ka3aJiaCb rrpHBJie- KaTeJibHOH .ZJ;a>Ke B Tex CTpaHax, KOTOphie B o6rn;eM 11 u;eJIOM OCTaBaJIHCb .n;eMOKpaT11l:!eCKHMl1 47 . TIOJIHOCTbIO ou;eHHTb B03- 4G Edmund Burke, A Philosophical Enquiry into the origin of our ideas of the sublime and Beautiful, London 1757. CM. pycc. l13- ,n.aH11e EepK, 3. '1>UJ1.ocoif>cKoe ucc.neooeaH.ue o npoucxoJ1coe1·mu H.awux uoeii B03BbLU1eH.H020 u npeKpaCH020. I nep. c aH2.ll. - MocKBa: MCI<YCCTBO, 1979. EepK BHec BeCOMbIH BKJia,n. B Cl1- CTeMaT11tiecKyro 3CTeTHKY CBOHM aHaJIH30M B03BbillleHHOro n npeKpacHoro. Ero aHa.JIH3 np1106peTaer oco6yro aKTyaJ1b- HOCTh B CB.H3H c pa3BHTHeM HMMepCHBHblX TeXHOJIOrHM. B pa- 6oTe <«PHJIOcocl>cKoe HCCJie,ll.OBaHHe 0 npOMCXO)l{,ll.eHHH HalllMX 11,n.ei:i B03BhillleHHoro 11 rrpeKpacttoro» (1757), .HBmuome11cJI O,ll.HHM 113 C8MhIX 3H8l!HTeJihHh!X npOH3Be,lleHHM 3CTenrnH aH- rJIHi:iCKoro T1pocBemeHHR, EepK no,n.qepKI·rnaeT qyncTBeHH0- 3Mo1u10HaJibHJIO np11po,n.y 3CTeTWieCKHX nepe:>KHBaHHi:i 11 YT- Bep»<AaeT, l!TO B OCHOBe B03BhlllieHHOro Jie)l{aT HeraTHBHbie 3M01.U1H -rrycTOTa, O,ll.HHOl!eCTBO 11 acpcpeKTHBHhlM CTpax, .HB- MIOID;HRC.H «rocno,n.cTnyrom;HM npMHl.UiIIOM B03BbillleHHoro» (C. 89). CTpax npOH3BO,ll.J.1T CHJlhHOe HepBHOe Harrp.IDKeHHe 11 HHTeHCHBHbie 3MOUH11, rpaHHtiam11e c BOCTOproM, CBOero po,n.a «BOCTOp)l{eHHbitt J)l(8C». Boo6me, B03Bhilllettttoe xapaK- Tep113yeTC.H Eepl<OM Kai< «caMa.H c11JibHa.H 3MOIJ;HR, J<oTopyro ,n.yrna cnoco6tta HCIIhITaTb» (C. 72). -ITpu.lvt.. peo. 47 Astonishing Nuremberg Scenes, Leader's spectacular Entry 30 TpMyMct> aonM l1JIJI. 4. Tpuy.M<ji BORU. npo4eccW!. MaptU wmypMOBbCX omp.R.ooe, noMwwae- Hlle nozu6wux. Kaopb1 u3 tfiw1bMa. AeMCTBMe 3TOro MOH]'MeHTaJThHOrO qnmoMa Ha coapeMeHHH- KOB He rrpe,Z1;cTasn11eTCH B03MO:>KHbIM BBHAY nporraraH,Z1;11CT- 31 TpMyM<t> son M CKoro l1CIIOJib30BaHMH rrpecCbI B Te ,ll;HM 48 • B TQ)Ke BpeMH: TOT cpaKT, qTQ «TpuyM<f> BOJlU» CTaJI rrpe,n;MeTOM KpMTJf qecKoro paccMOTpeHHH: MHOroq11CJieHHbIX yqeHhIX H xy,n;o)KHHKOB B HeBOJihHOH 3M11rpau:11M, H:BJIH:eTCH ,n;ocTaToqHoii YJIHKOM ,ll;JIJI KOHCTaTaIJ;MH 3cpcpeKTMBHOro B03,ll;eMCTBI1H, rrpHIIHCbI - BaeMoro Hau;110Ha11-cou;MaJIHCTHtiecKoli rrporraratt,n;e 49 • He- KOTOpoe BpeMJI ,ll;a)Ke 3pHTeJIH 3a rrpe,n;eJiaMH fepMaHHH, Y")Ke 3HaKOMhie c TOTaJIHTapHbIMH KapTHHaMH 113 I1TaJIHM MJIH Co- BeTcKoro Coro3a, He MOrJIM ,ll;HCTaHU:HpoBaTbCH OT «TpuyM<f>a BOJlU» 50 • He ,ll;O KOHIJ;a COOTBeTCTBYR cpopMYJie IICHXOTeparres- 51 Ta fy,n;pyH EpoK.Xayc - «,l{po)I<b M H,ll;HJIJinR» PHcpeHlllTaJib npe,n;JIO)KHJia HeMeU:Kl1M KMH03p11TeJIHM, 0611aCTb qyBCTB KO- TOpbIX Bee eme 6bIJia ,n;Hcpcpy3HOM l13-3a Kpl13l1Ca BeliMapCKOH Pecny6n11K11, He,n;sycMhICJieHttyro H 6pYTaJihHYIO aJihTepHaT11- 48 TeM tte Mettee, qacTo yrroMMHaeM:&re c.nyqa11 cnoHTaHH:&rx aIIJIO}l.MCMeHTOB BO BpeMj{ KMHOTIOKa3a - TaKoe e.n.Ba JUI MO)KHO npe.n.cTaBMTh cerO,ll.IDI - Il03BOJUUOT ronopMTh 06 3MOizyiOH8JlbHOH 3KCnaHCMH napTHHHOro C'be3,ll.a B Kl1H03a- JlbI. CM. Triumph iiber dieHerzen, in: Film-Kurier, Berlin (29. 3. 1935), 1; KpoMe Toro: Ein Epochales Filmdokument, Triumph des Willens, in: Licht Bild Biihne, Berlin (29. 3. 1935), 1. 49 06panrre BHHMaHMe Ha no,ll.po6H)'l0 pa6oTy XIDrMapa Xocp- MaHtta, ,, Und die Palme ftihrt uns in die Ewigkeit", Propaganda im NS-Film, Frankfurt a. M. 1988, 79ff. so TaK, UIBe}l.CKMe CTy,ll.eHTbI-pe)KMCCepbI, rrp11examu11e Ha HeI<O- TOpoe BpeIVrn B Eep1n1H, npocIDIH o B03MQ)KHOCTI1 nocMoTpeTh CTOJih Biile'IaTJUUOIIl;MH cpMJibM BTOpOH pa3., Begeisterung l.iber den Reichsparteitags-Film, in: Licht-Bild-Biihne (18. 04. a 1935); a Ta10Ke: R. R., Leni Riefenstahl presente invites, Le triomphe de la volonte, in: L'intransigneant (5. 07. 1937), 10; 5InoHcKoe rrpaBMTeJihCTBO 11cnOJih30BaJio TpttYM<P BoJIM, qTo· 6bI CTMM)'JIMpOBaTb B o6IJqeCTBe c6JI1'DKeHHe c 6:&IBIIIMM BO- eHHhIM npoTHBHMKOM - fepMatt11ei1. B ABcTpHM 11 II1Beu;H11 cpHJibM 6hIJI BocnpMIDIT KaK o6pa3 HOBOH repMaHMM, Corriere della Sera, I film proiettati a Venezia, Fredda accolienza a ,,La Masotte" , Il documentario nazista ,,Trionfo della Volonta", 24. 08. 1935. 51 Gudrun Brockhaus Schauder und Idylle. Faschismus als Erlebnisangebot. - Miinchen: Verlag Antje Kunstmann, 1997. 32 By: Bbl MapnnipyeTe BMeCTe c HaMM, YCTYTiaeTe HaM .nopory - l1 ror.u;a c BaMM HM'lero He CJiyi.IMTC.fI, HO eCJIM Bbl ITOCMeeTe BOCnpOTI1Bl1TbC.fI 3TOMy H.apOOHOMy me.ny, TO 6y,n;eTe TIOBep- )l{eHbI - r116e.nb PHMa rrpOM30IIIJia eIIJ,e COBCeM He,D.aBHO 52 • Me.l(MaJibHoe rroCJiaH11e 6bma Hau;e.neHo Ha 3iicpop1uo, .u;IDKe Ha qyacrao aceMor~ecraa y rrpMBep)KeHu;es HC.l:{PD, M Ha 3anyr.11BaHMe Tex, KTO MbICJIMJI M :>KeJiaJI I1Hal.fe. 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Hitler, Mein Kampf, XXX 198. 54 Triumph des Willens, Der Fiihrer priigt den Namen fiir den Reichsparteitags-Film 1934, in: Kinematograph (26. 09. 1934). 55 Der Fiihrer bei den Schneide-Arbeiten Leni Riefenstahls fi.ir ,,Triumph des Willens", in: Filmkurier (07. 12. 1934). 35 America's Army BpeMeHHOCTl1: America's Army (AA) 56 rrpe.D.CTaBJI.ReT co6oi1 rrepBbIH cnyqai1, KOr,lJ,a cpe,ll,epaJihHOe rrpaBHTeJihCTBO c u;eJibIO CTpaTer11'leCKOH KOMM)'HHK~ c o6m;eCTBeHHOCTblO 3aKa- 3hIBaeT rrpo113BO,ll,CTBO ,[(JUI Maccosoro pbIHKa KOMilbIOTepHOM MrpbI c 113}'MMTeJihHOH rpacp11Koi1, 11 nopyqaeT pean113au;1110 npoeKTa crreu;11aJihHO C03,lJ,aHHOMY .Z::VIB 3Toro MHCTHTyry. c IIO- MOIIJ;blO AA BooppKeHHbie CHJihI CIJ.lA no.nyqaIDT .D.OCTYJI K :11c- '111CJI11Moi1 MHJIJIHOHaMM ay.Lll1Top11.11 reliMepoB. AA .RBJUieTcH TaK Ha3bIBaeMoP.i. Recruting Game (eep6oaoqHoH :11rpe) . 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TaK, America's Army MO)l<HO He TOJibKO 6ecIIJiaTHO 3arpy3HTh 113 HHTepHeTa, HO OHa CaMa Be,lJ,eT CTaTHCTHKY rrpoMaXOB H rrorra,llaHHii BHpT)'aJibHhIX COJI- ,n;aT. OpraHRlfHO nepepacTa.R B CJiyJK6y OHJiai1H-peKpyr11Hra, 56 America's Army (http: //www.americasarmy.com/) - cepIDI KOMIThIOTepm.IX Hrp, paapa6oTaHHbIX apMHeH CllIA c u;e.nbJO peI<PYTMHra .z:106pOBOJibIJ;en. flepBaH nepcIDI HrpbI .llJUI ITK. HMeBmaJI no.z:13aroJIOBOK Recon, 6bIJia BhmyIL\eHa 4 moJUI 2002 ro.z:1a. C Tex nop BbIIlJJIO 6onee 26 BepcliH Hrpb1, no- CJie.n;HIDI H3 KOTOpbIX Haa1>maeTCH America's Army: Proving Grounds. Hrpa qmHaHc11pyeTCH npanmenhCTBOM CllIA M pac- npocTpawreTCH 6ecITJ1aTHO. -IIpuM. peo. 36 America's Army HJm. 5.America's Army 3. CKpumuom. pa3Bl1TM I1H<PopMa~I10HHCUI apx11TeKrypa 11rpbl o~eHI1BaeT .n.ei1CTBI1JI 11rp0Ka I1 Be,lJ.eT .n.eTaJibH)'lO CTaTHCTI1Ky Ka~oro rrpoae.n.eHHoro 60.R. HpKHo oTMeTMTb, "t!TO America's Army perrpe3eHT11pyeT [(eJIYIO BOJIHY rrpo.n.aIOI.1.J;I1XCR MI1JIJil10HaMI1 TI1pmKaMI1 KOM- IIbIOTepHbIX 11rp, KOTOpbie, KaK IIOJiaraeT THMOTI1 JleHop, B03- HI1KJII1 6naro.n.apH rrepcoHaJibHbIM 11 <P11HaHCOBbIM CBJI3RM, o6pa30BaBIIII1MCJI Me~ I1H,lJ.YCTpI1eH pa3BJie"tleHI1ll I1 BO- oppKeHHbIMI1 c11JiaM11. TaKoe crrJieTeH11e no3BOJIHeT roaopMTb 0 «BOeHHO-pa3BJieKaTeJibHOM KOMIIJieKCe», 6IO,lJ.)l{eT KOTOporo B .n.aHHblll MOMeHT COCTaBJIJieT 6oJiee lOo/o BeCbMa u..i:e.n.pblX aoeHHbIX pacxo,ZJ;OB Coe.n.11HeHHbIX lliTaToB 57. 57 Timothy Lenoir, Fashioning the Military-Entertainment Com- plex, in: Correspondence. An International Review of Culture and Society 2002/2003, 14-16, ausfiihrlich, James Der Deri- an, Virtuous War. Mapping the Military-Industrial-Media-Enter- tainment Ne1:1vork, Wesrview Press 2001, ebenfalls: Krystian Woznicki, Das globale Obungsdorf, in: Virtuelle Welten - reale Gewalt, hg. 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Pa3BMTI1e BI-i3yaJibHbIX Me,n;Ha - OT 70 Pong - O,ll;Ha 113 nepBbIX KOMITbIOTepHbIX 11rp, CMMYAATOp Ill1Hf-IlOHra, pa3pa6oTaHHM B 1972 ro,ll;y 11 IlOJiy<-IHBlliaJI I1I11pOKOe pacnpocTpaHeHM:e B I1TpOBblX aBTOMaTax. http:// www.ponggame.org/ - I1pUM peo. 71 Doom - KOMITbJOTepHaR 11rpa B :>KaHpe «lll}'Tep OT nepBoro JIMIJ;a» c 3JieMeHTaMI1 xoppopa, BbIIIyIIl;eHHM KOMITaHHeH id Software B 1993 ro,ll;y. IlonymipHa.a B 1990-x ro.v.ax OHa Jierna B OCHOBy 0,ll;HOHMeHHOfO 4.>11JibMa 2005 ro)l;a. - I1pu.M.pea. 45 aJITapHbIX 11306p3.)KeH11M. (KaK B :VfaeHreM.Me) qepe3 nattopa- MJ', CHHeopaMy, CTepeOCKOil, BOJIUle6HbIH cpoHapb, ,ll;HOpaMy, cpaHTaCMarop1110, HeMoe, 3ByKOBOe 11 T . .n;. KHHO (KaK B CJIY'lae c «TpuyM<f>OM BOJlU»), IMAX 11 TeJieMaTHqecKHe Me.n;11a .n;o KOM- IlbIOTepHbIX 11rp (America's Army) 11 BHpTYaJioHoro npocTpaH- cTaa - B TaKOH nepcneKTHBe rrpe.n;cTaeT HCTOpHJI IlOCTO.fIHHO 113MeHJIIOIU11XCH MaIIlHH, cpopM opraHH3aU:l1H H MaTep11aJIOB, npH 3TOM CKOpOCTb 113MeHeH11H: HerrpepbIBHO B03pacraeT l13- 3a pac~ero ot1apoaaH11H ace HOBhIMH HJIJII0311HMH. Mb1 011- ,ll;HM npaKT11qecK11 6ecKOHeqHbIH IlOTOK, B KOTOpOM np11 6JI11- JKaHUleM paCCMOTpeHI111 .n;aJKe TaKHe Ka3aJIOCb 6hI IIOHJITHbie cyrn;HOCTH KaK KHHO npe,n.cTaIOT B KaqecTBe coe,n;HHeHHH BCer- .n;a no-pa3HOMY CKOMnaHOBaHHblX OCKOJIKOB B KaJieH,ll;OCKOile 3BOJIIOU:HOHHoro pa3BHTHH Mep;11a. ToJThKO lllH:poKHi1: B3fJJH.ll: OTI<pbIBaeT ,ll;JIR Hae Te HenpephIBHbie 3HeprHH, KOTOpbie CB.fl- 3aHbI c IlOHCKOM I1 C03,ll;aHHeM HOBbIX rrpocTpaHCTB HJIJII03KH 11 11MMepc11li, 06ecneq11aarom;mc rrpeBOCXO,ll;CTBO BJiaCTH BH- 3yaJibHOfO. VICXO,[VI 113 TaKHX npe,n;IIOChIJIOK CTaHOBMTCJI B03- MOJKHbIM ccpopM)'JIHpoBaTb 3BOJIIOU:HOHHY!O HCTOpH!O Me.n;11a B CBJI31ii c 3MOJ.J,11RMM, KOTOpbie OHa Bbl3bIBaeT - TaKyID MCTO ~ pHIO, KOTOpaJI 6hI BKJifOqaJia B ce6JI ace CBOH yrrymeHM.R, npo- THBopeq:HJI I1 3a6JiyJK.n;eHHR:. 46 "1nJHOCTpaT&ilBHOe np111no>t<eH llle MLLXQ3Jlb OcmeHaopif>. «flaJLO/IHLU'lecmao K L(ep1cau flpeKpaowii Mapuu B Pe2e1£c6ypZ>>. I'pae10pa lta aepeee, OKOJlO 1520. Xyao:i1cecmeem1aJ! l<OJlJle1<4Wl Becme Ko6ypz.. ~nmocrparnsHoe npMno>KeHMe «flpu6b1mue noeaoa Ha 80K3Q./t zopooa Jla-Cboma», pe:)IC. Oz1ocrn u Jlyu JI10- .Mbep, 1895. J<aopb1 ua <jJUJ11>Ma. 48 HnntocrpaTHBHoe npMno>t<eHMe «Hano11<!0H», pe:>1c. A6eJlb I'a1-1c, 1927. Kaopbt ua <{JwtbMQ. 49 ~nmocrpanteH oe np111no>KeH111e c«PaH.ma3UR», npoo1ocep YOJ!m .auCH.ei1, 1940. J(aopbt U3 MYJlbmUT1.llUKQl{U- OH1t020 <ftUJlbMQ. 50 lt1nnt0cTpanteHoe npMnO)l(eHMe «Pong». Mzpoaoe noJte KO.Mn1>10mepHoii. u2pb1, 1972. 51 '1nmocrpanteHoe npMno>KeHMe «Doom», nocmep KOMnb10mepttoii uipb1, 1993. 52 OrnaeneH~e BBe.n;eHtte .. .. . .... . ...... . ........ ..... .. . . . . ... ...... ..... . 6 T.il u u n3eHreHMCKHH aJITapb........ ... ... .......... ... .... ... .. 10 <l>HJibM KaK cyrreCTHBHbI H Me,ZJ;H}'M ............. ... ...... . 16 TpI1}'Mcp BOJIH ... . .. . ....... .... ........ . ...... ....... .... .. 24 America's Army.. . ..... . .... .... ...... ..... ...... ... ....... 35 3aKJIIOtteHHe ................. ... ....... . .......... ... ..... 43 YlJIJilOCTpaTHBHOe npHJIO)l(eHHe . ...... .... .... ...... ... . . 47 53 The St. Petersburg Branch of the Russian Institute for Cultural Research EIDOS Publishing House of literature in the humanities (Russia) Book series on emergence, structure and interrelation of media phenomena in art, everyday life,. philosophy and social practice - .. - machina media Media is everywhere. Media, in its diverse f01ms, participates in the transformation of meanings and can be understood as a machin- ery of abstractions that creates and presents a vast variety of possible worlds. A machinery of abstractions does not produce unnecessary scenes or waste. Its product is the elements that can and must be pro- cessed - media flows, the noise that emanates from the technical sincerity of the registering and reproducing device and human imag- ination. A machinery of abstractions that neutrally registers everything, including the most insignificant details, is machinery in which man invests energy; it functions within a dialogue context, together with the human imagination. Machines must be operated by someone; they require human participation, which can take various forms - from a technical apparatus to a social mega-machine, from a bio- logical machine to phantasms of memories, dreams, and desires. All this machinery is a modification of the machine and maintains the connection among various elements, thus forming the environments (medium or media), which are the nourishing substance used for lab- oratory cultivation of organisms. The environment is the plurality of numerous elements that are not part of any particular system, such as science, religion, an, morality, technical products, living creatures, etc., but with which a given system may interact. The machine, as an analytical notion, presupposes dynamic inter- actions, connections, and conjugations of heterogeneous cultural phe- 54 nomena in a temporal, spatial and historically constrained amalga- mation or machine assemblage, which changes itself and changes the configuration of the environments. Each person is an element of this dynamic ensemble, which may produce meanings while assembling ever newer and more innovative machinery. In this series, we plan to publish compact works that realize var- ious strategies and tactics of media existence and its description in science, art, philosophy and everyday life. The media paradigm is es- tablished not only as an object of cognition, but also as a condition for cognition itself, and hence as a condition for the existence of a person in the world. Media are ways of sensing, viewing, and thinking. They are not just instruments or means of representation, but are also deep- ly rooted in us; media are what give birth to culture. The goals of the series are to show the various sides of media in- volvement of a person in the world and present contemporary studies that help to define the contours of the medial. In addition, the series discusses the ·importance of escaping the danger of mummification and the unification of media in standard formulas of a repressive cat- egorical apparatus . Mikhail Stepanov, the General Editor of the Series Alina Venkova, the Academic Editor of the Series Editorial Board of the Series Norval Baitello juniol' - Brazil Dmitry Bulatov - Russia Dmitry Golynko-Volfson-Russia Oliver Grau-Austria Frank Hartmann - Austria I Germany Jens Hauser-France I Germany Ryszard W. Kluszczynski- Poland Sybille Kr mer - Germany Lev Manovich - USA Elisabeth von Samsonow - Austria Mi1<hail Stepanov - Head of the Editorial Board, Russia Siegfried Zielinski - Germany 55 -- ... --- ---.... ,~, .. -_. OJIHBep fpay 3MOIJ;I1I1 l'.I I1MMepcI1H: KJIJQ"qeBhie 3JieMeHThI v BH3yaJibHhIX HCCJie,lJ,OBaHHH nepeeoo c He.Mel.{KOZO: A. M. I'aiicuHa noo peoaK4ue11. M.A. CmenaHoaa Hay•tH&tii. peoaKmop: AlluHa BeH1coaa jfu3aiiH u eepcmKa: BeHUW.tuH Hawmcuii B 0¢op.M.11e11uu o6JlO:J1CKu ucnOJ1b3yemCJ1 z.,mm1'-apm pa6oma MuxallJla CmenaHoaa no Kaopa;.1 tjiullbAta «OJ1tlllmw1» JleHu Pucfte111wt10J1b TeKcm Hanucan cne4uw1b1-10 OJLR oa1i1-1020 u3oa1tW1 110 MamepuOJ1a.~1 cmambu: "Vorsiclit! Es scheint, dajl er direct au/ die Dunkelheit zustiirzt, in der Sie sitzen. "Immersions- und Emotionsforschung, Kernelemente der Bildwissenschaft, in: Klaus Herding/Antje Krause-Wahl (Hrsg.): Wie sic/1 Gefiihle Ausdruck verscliaffen. - Verlag Dr. H. H. Driese11 GmbH 2007, S. 263-288. f1otJ;m1caHo B ne'!aTh 10.10.2013. <PopMaT 113.11;aH1u160 x 90 1/ 16• YCJI. ne'!. JI. 3. f1e'laTh o¢ceTHM. fapH.1nypa Charter. T11pa)!( 100 3K3. oc Vl3,ll;aTeJibCTBO «3M,ll0C» www.eidos-books.ru f)'MaHHTapHaR HayqHaR Jll1TepaTypa. 3Jiel<TpOHHble 113,ll;aHID! 0Tne<iaTatto B Ti-morpa¢1-rn «CBOPKA» Ha6. 06aop;Horo KaHaJia, p;oM 64, Koprryc 2, o¢;ic 22. CaHKT-f1eTep6yp~PoccHR, 192007 3aI<a3 N!! 01/10/13