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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">vgik</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник ВГИК</journal-title><trans-title-group xml:lang="en"><trans-title>Vestnik VGIK</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2074-0832</issn><issn pub-type="epub">2713-2471</issn><publisher><publisher-name>ВГИК</publisher-name></publisher></journal-meta><article-meta><article-id custom-type="edn" pub-id-type="custom">ymcesf</article-id><article-id custom-type="elpub" pub-id-type="custom">vgik-126</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>МИРОВОЙ КИНОПРОЦЕСС</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>WORLD CINEMA</subject></subj-group></article-categories><title-group><article-title>Код христианской морали в фильме Ларса фон Триера «Догвилль»</article-title><trans-title-group xml:lang="en"><trans-title>Code of Christian Morality in Lars von Trier's film “Dogville”</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Виногородская</surname><given-names>А. В.</given-names></name><name name-style="western" xml:lang="en"><surname>Vinogorodskaya</surname><given-names>A. V.</given-names></name></name-alternatives><bio xml:lang="en"><p>PhD student</p></bio><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="en">S. A. Gerasimov Russian State University of Cinematography (VGIK)</aff></aff-alternatives><pub-date pub-type="collection"><year>2022</year></pub-date><pub-date pub-type="epub"><day>28</day><month>03</month><year>2024</year></pub-date><volume>14</volume><issue>4(54)</issue><fpage>116</fpage><lpage>125</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Виногородская А.В., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Виногородская А.В.</copyright-holder><copyright-holder xml:lang="en">Vinogorodskaya A.V.</copyright-holder><license license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.vestnik-vgik.com/jour/article/view/126">https://www.vestnik-vgik.com/jour/article/view/126</self-uri><abstract><p>В статье анализируется представленность христианских аллюзий в фильме Ларса фон Триера «Догвилль» и то, какое место они занимают в этой картине. Несмотря на то, что христианские категории играют ключевую роль в структуре фильма, было бы не совсем верно говорить об утверждении признаков христианской морали в картине, поскольку в ней отсутствуют значимые ее составляющие, такие, к примеру, как вера в спасение души через веру в Бога. Тем не менее Ларс фон Триер использует узнаваемые христианские образы и мотивы, чтобы переосмыслить их не в русле религиозных категорий, а как идейно-философские понятия.</p></abstract><trans-abstract xml:lang="en"><p>Christian allusions hold a valuable place in the work of Danish director Lars von Trier, occuring in one way or another in most of his films. It may seem that Dogville (2003) also follows Christian traditions, and its ethics directly relates to the Christian morality. Still, an in-depth analysis makes clear that Christian allusions in this picture do not necessarily imply the code of Christian morality behind.Christian morality is based on the belief in the Triune God, Creator of the universe. Its key concepts are sin as breaking of God's commandments and conversion as a Christian’s path of life. It is important that, in terms of Christian ethics, salvation may come only through repentance, which, in its turn, means faith in God.Therefore it is obviously inappropriate to suggest Christian ethics in the space of Dogville, since faith is not at issue in this film.Grace's father, who insists that one should be punished for his/her sins in order to be able to repent, would seem related to God the Father, while Grace, with her profession of forgiveness, to Jesus. An in-depth analysis makes obvious that the dispute between these two characters is not religious but ideological. None of them is driven by philanthropy, but solely by the desire to carry his/her point. Moreover, Grace's sacrifice is not in fact the fulfillment of her father's will but a rebellion against it.The study shows that Lars von Trier, who draws on biblical images and patterns and imbues his film with Christian allusions, still remains beyond religious ethics and Christian morality, so the conflict in Dogville is ideological and not a religious one.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>христианская мораль</kwd><kwd>авторская картина мира</kwd><kwd>Новый завет</kwd><kwd>Ветхий завет</kwd><kwd>грех</kwd><kwd>жертва</kwd><kwd>прощение</kwd></kwd-group><kwd-group xml:lang="en"><kwd>Christian morality</kwd><kwd>author’s individual view of the world</kwd><kwd>New Testament</kwd><kwd>Old Testament</kwd><kwd>sin</kwd><kwd>sacrifice</kwd><kwd>forgiveness</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Абдуллаева З. Триер и Брехт. 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