Psikhologicheskie Issledovaniya • ISSN 2075-7999
peer-reviewed • open access journal


2017 Vol. 10 Issue 56

Orestova V.R. Cinema and psychology of everyday life

Full text in Russian: Орестова В.Р. Кино и психология повседневности

L.S.Vygotsky Institute for Psychology, Moscow, Russia

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The problem of cinema in the psychology of everyday life is discussed. Cinema is seen in several aspects of the relationship with everyday life - as a way of crystallization in the work of art of a person's daily life, as part of everyday life, which includes watching movies and as a variant of the viewer's contact with the everyday life reflected in the cinema. The role of cinema in reflecting values ​​and the state of society, reflecting the changes that are taking place, and in restoring the integrity of the people's identity is shown. In the mainstream of the aesthetic paradigm, the importance of cinema is considered for the crystallization of various aspects of everyday life. Various facets of cinema are considered – entertainment, industry and art in their connection with everyday life. The tendencies in the development of modern Russian mass cinema and its role in building group identity are considered. In the context of the reflection of everyday life, the importance of author's cinema is emphasized. The role of the person of the creator, his relation to reality in the aesthetic experience, caused by the work of motion picture art, is stressed. It is emphasized that the work of art movies become when the everyday life depicted in them is permeated with the spirit and mood of the time, and the ordinary life of the heroes is intertwined in the historical era. The questions of perception of everyday life in cinema by the modern spectator are considered. It stresses the psychological and emotional significance of movies that affect the "life world" of the viewer, his subjective living space and his ideas about himself. The display of everyday life in contemporary Russian cinema is analyzed on the example of two paintings - "Dislike" by Andrei Zvyagintsev and "Arrhythmia" by Boris Khlebnikov. The significance of the language, the form of the work of cinema for perception and experience by the viewer of the film, for recreating the integrity of identity in the process of viewing or increasing internal disharmony is revealed. The significance of the personal "themes" of the viewer for the perception and experience of the film is considered. As a prospect for further research on the interaction of the form of the work, personal characteristics and "themes" of the viewer in the perception of everyday life in the cinema, an appeal to the concept of a psychological chronotope is suggested.

Keywords: psychology of everyday life, everyday life, cinema, film, identity, aesthetic paradigm, perception, narrative, psychological chronotope



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Received 16 October 2017. Date of publication: 27 December 2017.

About author

Оrestova Vasilisa R. Ph.D., L.S.Vygotsky Institute for Psychology, Russian State University for the Humanities, Miusskaya pl., 6, 125993 Moscow, Russia.
E-mail: Этот адрес электронной почты защищен от спам-ботов. У вас должен быть включен JavaScript для просмотра.

Suggested citation

Orestova V.R. Cinema and psychology of everyday life. Psikhologicheskie Issledovaniya, 2017, Vol. 10, No. 56, p. 5. (in Russian, abstr. in English).

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