ИСЛАМСКИЙ ПРИЗЫВ (ДАВА) НА КАВКАЗЕ XXI В. СРЕДСТВАМИ КИНО: ПОПЫТКА ДИСКУРСИВНОГО АНАЛИЗА
ISLAMSKIJ PRIZY`V (DAVA) NA KAVKAZE XXI V. SREDSTVAMI KINO: POPY`TKA DISKURSIVNOGO ANALIZA
Ключевые слова: исламский призыв, дискурсивный анализ, видеоисточники, “холодная война”, антиамериканизм, Кавказ, Дагестан
Аннотация
Предметом настоящего исследования служат пропагандистские документальные фильмы "Обыкновенный ваххабизм" и "Обыкновенный суфизм", снятые в жанре исламского призыва (да'ва) противниками и сторонниками радикального политизированного ислама на российском Северо-Восточном Кавказе в начале XXI в. Сравнивая их сценарии, тексты и образы, автор стремился понять, как противоборствующие фракции представляют себе "истинный" ислам и пытаются донести свои идеи до постсоветской молодежи средствами видео и Интернета. Особое внимание было обращено на наследие "холодной войны", антиамериканские и антисемитские тенденции в исламском документальном видео, его создателей и потребителей, отношение современной северокавказской молодежи к разбираемым фильмам и клипам.
Abstract
Since the collapse of the Soviet Union, the Northern Caucasus, particularly Dagestan and Chechnya, have witnessed the rise of Islamic documentary fi lmmaking. It is a new development, aimed at the new, young generations, and peculiar in many ways. It is characterized by the extensive use of montages with a contrasting accompanying soundtrack and off-camera commentaries by the author/presenter. Abdullah (Telman) Alishaev's documentary investigation, "Ordinary Wahhabism", released in 2005 by TV-Chirkey, would become the fi rst and most widely known work in this genre, submitted for a series of nationwide documentary fi lm competitions in 2009-2010. The Islamist polemical video "Ordinary Sufi sm" was posted in 2009 on the Islamic sites guraba.net and hunafa. net as a critical response to Alishaev's fi lm. In addition, there are also a number of recent clips about shahids, killed in the act of performing the jihad in the Caucasus. These works were made for, with and about the youth. The latter were also the main focus of the Islamic mission, attempting to explain to young Muslims what it means to follow 'true Islam', and the dangers of straying from it. For their part, young people have certainly responded to the output of polemical video; however, their reaction was by no means uniform and it refl ects the complex situation and heterogeneity of Muslim society in the region today. The directors and audiences are, therefore, entangled in the confl ict between warring factions, which imbues these sources with a particular importance for the discursive analysis of the reproduction of Islamic knowledge in the Caucasus by means of the post-Soviet Islamic cinema.
Как цитировать
Бобровников В. О. ИСЛАМСКИЙ ПРИЗЫВ (ДАВА) НА КАВКАЗЕ XXI В. СРЕДСТВАМИ КИНО: ПОПЫТКА ДИСКУРСИВНОГО АНАЛИЗА // Восток (Oriens). 2011. № 4. С. 46–64.
How to cite
Vladimir Bobrovnikov ISLAMSKIJ PRIZY`V (DAVA) NA KAVKAZE XXI V. SREDSTVAMI KINO: POPY`TKA DISKURSIVNOGO ANALIZA // Vostok (Oriens). 2011. No. 4. Pp. 46–64.