CULTURE THROUGH THE PRISM OF EXPRESSIONIST TRADITIONS IN CINEMA ART OF THE XX-XXI CENTURIES (IMAGE OF GOLEM)

In this article, the author comes to the conclusion that the expressionist tradition in cinema quite adequately reflects the laws of the cultural development of society: creative figures throughout the twentieth and first 20 years of the twentyfirst century. periodically return to the Golem theme; his image remains relevant, since it embodies the idea of sometimes the only defense (from the outside) of a person helpless before the collisions of the surrounding world, which means that this latent fear of the world cannot be considered exclusively the property of the modernist worldview of the early twentieth century. Unshakable to this day, however, remains the moral law: in every film product, the Golem is subject to destruction as a godless substance, as an unsuccessful attempt by a person to stand on the same level with the Creator. At the same time, the image of the Golem in the history of cinematography is influenced by the historical situation and the constantly changing spiritual and aesthetic demands of the viewer associated with it. Mythological Golem in the XXXXI centuries. ceases to be slow and clumsy, and for its revival, neither an ecstatic mystical experience, nor a righteous man, nor a whole group of such (obviously, because in modern reality it is very problematic to find them): for more than 100 years in cinema, the mythical Golem from an earthen image, thanks to the director's vision, she gradually follows the path of her increasing "incarnation" and eventually turns into a fragile girl, now into an unhappy child.