\u0423\u0414\u041a 791.43\/.45<\/p>\n\n\n\n
AN ANALYTICAL REVIEW OF SCIENTIFIC RESEARCH ON THE PROBLEM OF THE REPRESENTATION OF COMPLEX SOCIAL IDENTITIES IN MODERN DIGITAL CULTURE<\/strong><\/strong><\/p>\n\n\n\n Daria V. Ruzanova1<\/sup><\/strong><\/strong><\/p>\n\n\n\n 1<\/sup>Siberian Federal University, Krasnoyarsk, Russia Abstract.<\/strong> Over the past few years, platforms where photo and video content are publicly available has grown in popularity. In addition, the number of online shows and programs is increasing, and series are being created, where at least one storyline is devoted to the development of a character representing the LGBT community or a line containing elements of cross-dressing cinema. So, in the scientific community, interest in the study of this phenomenon is growing, since the representation of complex social identities in modern digital culture is associated with many social factors. This paper provides an overview of scientific research by foreign authors who study the visualization of the LGBT community in media products. The purpose of this work is to identify the main features, patterns and characteristics of LGBT and cross-dressing representations on the screen, in cinema, serial culture, the network, the media, as well as in popular online projects that have been studied by foreign authors over the past thirty years. For an analytical review, it was foreign studies that were selected, since there are not enough Russian-language works to form a literary base of sources that can be relied on when writing a research article. This work presents leading and modern research that allows us to determine the further development of the representation of complex social identities in digital culture, as well as to trace the evolution of the development of this phenomenon. The results of this article serve as the basis for writing further, more extensive studies, as well as for writing works on similar topics, since the article presents sources both related to digital culture and sociology and psychology.<\/p>\n\n\n\n Keywords:<\/strong> media, representation, complex social identities, digital culture, cross-dressing cinema<\/p>\n\n\n\n For citation: <\/strong>\u0420\u0443\u0437\u0430\u043d\u043e\u0432\u0430 \u0414. \u0412. \u0410\u043d\u0430\u043b\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u043e\u0431\u0437\u043e\u0440 \u043d\u0430\u0443\u0447\u043d\u044b\u0445 \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u0439 \u043f\u043e \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0435 \u0440\u0435\u043f\u0440\u0435\u0437\u0435\u043d\u0442\u0430\u0446\u0438\u0438 \u0441\u043b\u043e\u0436\u043d\u044b\u0445 \u0441\u043e\u0446\u0438\u0430\u043b\u044c\u043d\u044b\u0445 \u0438\u0434\u0435\u043d\u0442\u0438\u0447\u043d\u043e\u0441\u0442\u0435\u0439 \u0432 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0439 \u0446\u0438\u0444\u0440\u043e\u0432\u043e\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0435 \/\/ \u0426\u0438\u0444\u0440\u043e\u0432\u0438\u0437\u0430\u0446\u0438\u044f. 2021. \u2116 2. \u0421.\u00a051\u2013 58. DOI: 10.37993\/2712-8733-2021-2-2-51-58.<\/p>\n\n\n\n 1. \u041f\u0440\u0430\u0445\u043e\u0432\u0430 \u042e.\u041c. \u041f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \u0444\u043e\u0440\u043c\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u044f \u0438 \u0444\u0443\u043d\u043a\u0446\u0438\u043e\u043d\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u044f \u0441\u043e\u0446\u0438\u0430\u043b\u044c\u043d\u043e\u0439 \u0438\u0434\u0435\u043d\u0442\u0438\u0447\u043d\u043e\u0441\u0442\u0438 \u043a\u043e\u043d\u0441\u0442\u0440\u0443\u043a\u0442\u0438\u0432\u0438\u0441\u0442\u0441\u043a\u0438\u0439 \u0430\u043d\u0430\u043b\u0438\u0437 \/\/ \u0421\u043e\u0446\u0438\u0430\u043b\u044c\u043d\u043e-\u0433\u0443\u043c\u0430\u043d\u0438\u0442\u0430\u0440\u043d\u044b\u0435 \u0437\u043d\u0430\u043d\u0438\u044f. \u0421\u0435\u0440\u0438\u044f: \u0441\u043e\u0446\u0438\u0430\u043b\u044c\u043d\u044b\u0435 \u043d\u0430\u0443\u043a\u0438. 2015. \u0412\u044b\u043f. 5. \u0421. 215-218. <\/p>\n\n\n\n 2. \u0425\u0430\u0439\u0434\u0435\u0433\u0433\u0435\u0440 \u041c. \u0412\u0440\u0435\u043c\u044f \u0438 \u0431\u044b\u0442\u0438\u0435: \u0421\u0442\u0430\u0442\u044c\u0438 \u0438 \u0432\u044b\u0441\u0442\u0443\u043f\u043b\u0435\u043d\u0438\u044f. \u041c\u043e\u0441\u043a\u0432\u0430: \u0420\u0435\u0441\u043f\u0443\u0431\u043b\u0438\u043a\u0430, 1993. 447 \u0441. <\/p>\n\n\n\n 3. Barosso A. T. Spanish queer cinema directed by women: beginnings, evolution and current situation \/\/ Gender issues: from equality to difference [Cine queer espa\u00f1ol dirigido por mujeres: inicios, evoluci\u00f3n y situaci\u00f3n actual \/\/ Cuestiones de g\u00e9nero: de la igualdad a la diferencia]. Valencia, 2016. \u211611. P. 477-486. <\/p>\n\n\n\n 4. Brewer M.B. In-group bias in the minimal intergroup situation: A cognitive-motivational analysis \/\/ Psychological Bulletin. New York, 1979. \u21162. P. 307-324. <\/p>\n\n\n\n 5. Castro A. LGBT cinema and inclusion; a contemporary look [Cine LGBT e inclusi\u00f3n; una mirada contempor\u00e1nea], Lima, 2019. \u211622. P. 40-43. <\/p>\n\n\n\n 6. Cavalcante A. I Did It All Online: Transgender identity and the management of everyday life. \/\/ Critical Studies in Media Communication. 2016. \u211633. P. 109-122. <\/p>\n\n\n\n 7. Dhaenens F. Pink programming across Europe: exploring identity politics at European LGBT film festivals \/\/ Studies in European Cinema. 2018. P. 72-84. <\/p>\n\n\n\n 8. Ferreira C. M. LGBT representations in contemporary cinema: resistances and captures [Representa\u00e7\u00f5es lgbt no cinema contempor\u00e2neo: resist\u00eancias] Rio de Janeiro, 2017. p. 294-303. <\/p>\n\n\n\n 9. G\u00f3mez I. The cinematographic representation of the hegemonic masculine in Spanish LGTB cinema 1970-2015: Methodological reflections [La representaci\u00f3n cinematogr\u00e1fica de lo masculino hegem\u00f3nico en el cine LGTB espa\u00f1ol 1970-2015: Reflexiones metodol\u00f3gicas], 2016. P. 183-195. <\/p>\n\n\n\n 10. Hogg M., Abrams D. Social identity: The role of self in group processes and intergroup relations \/\/ Group Processes & Intergroup Relations.2017. \u211620. P. 570-581. <\/p>\n\n\n\n 11. Horak L. Tracing the History of Trans and Gender Variant Filmmakers \/\/ Journal of Film and Television. 2017. \u21162 P. 9-20. <\/p>\n\n\n\n 12. Jobe J. Transgender Representation in the Media. Kentucky: Eastern University Encompass, 2013. 214 p. <\/p>\n\n\n\n 13. McInroy L, Craig S. Transgender Representation in Offline and Online Media: LGBTQ Youth Perspectives \/\/ Journal of Human Behavior in the Social Environment. 2015. \u211625. P. 605-617. <\/p>\n\n\n\n 14. Mcnamara T. Theorizing Social Identity: What Do We Mean by Social Identity? Competing Frameworks, Competing Discourses \/\/ TESOL Journal. 1997. \u211631. P. 561-567. <\/p>\n\n\n\n 15. Perriam C. Spanish queer cinema. Edinburgh: Edinburgh University press LTD, 2015. 192 p. <\/p>\n\n\n\n 16. Rich R. New queer cinema. Durham: Duke University Press, 2015. 360 p. <\/p>\n\n\n\n 17. Schoonover K., Galt R. Queer cinema in the world. Durham: Duke University Press, 2016. 408 p. <\/p>\n\n\n\n 18. Tajfel H. Social categorization and similarity in intergroup behavior \/\/ European Journal of Social Psychology. 1973, \u21163 P. 27-52. <\/p>\n\n\n\n 19. White P. Lesbian minor cinema \/\/ Oxford University press. Oxford, 2018. P. 410-425. <\/p>\n<\/details>\n\n\n\n Get access to the full version of this article<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" \u0423\u0414\u041a 791.43\/.45 AN ANALYTICAL REVIEW OF SCIENTIFIC RESEARCH ON THE PROBLEM OF THE REPRESENTATION OF COMPLEX SOCIAL IDENTITIES IN MODERN DIGITAL CULTURE Daria V. Ruzanova1 1Siberian Federal University, Krasnoyarsk, Russiarubiren189@yandex.ru, orcid.org\/0000-0003-3227-2599 Abstract. Over the past few years, platforms where photo and video content are publicly available has grown in popularity. 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rubiren189@yandex.ru<\/a>, orcid.org\/0000-0003-3227-2599<\/a><\/p>\n\n\n\nReferences<\/strong><\/summary>\n