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Abstract
The article explores various films “about Eastern life” of the 1920s, conducting a historical and anthropological analysis of the content of these films and their reviews from the perspective of intercultural communication. The research methodology is grounded in the semiotic tradition and the communicative model proposed by Yu. M. Lotman. Printed media texts and visual sources (films) were used in the composition of this article. The aim of this piece is to expose the communicative functions of cinematography as a medium for information exchange and to ascertain the cognitive possibilities of silent cinema for the communicative interaction of the peoples of our country.
Films “from Eastern life” had to conform to certain criteria, taking into account the idiosyncrasies of the national mentality of the inhabitants of the eastern outskirts. The study revealed that legends were employed in scriptwriting as a phenomenon of folk spiritual culture. Films inspired by folklore depict architectural masterpieces and the diverse nature of different regions. The harem theme popular in Western Europe found its way into Soviet films “about Eastern life”, but the quest for the “false exotic of the East” often resulted in communication breakdowns. The “inauthentic” portrayal of the East did not resonate with viewers and film critics.
Nevertheless, silent films of the 1920s introduced the ethno-confessional characteristics of peoples, their history, traditional way of life, mores, and customs. These films contributed to the broadening of the national worldview, thereby confirming the high cognitive potential and significance of cinema in the intercultural communication within the multi-ethnic landscape of the USSR.
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