Jewelry in the semiotic field of the Soviet cinema in the second half of the 1930s

Abstract

The fate of jewelry in the first post-revolutionary decades was dramatic: from ignoring it in principle as a sign marking the bourgeois culture of the “old world” to its usage in the new Soviet culture as semiotic markers. The evolution of their status value most vividly was manifested in the Soviet cinema of the 1930s. In the second half of the decade, its role in the characterization of characters gradually increased and acquired symbolic significance in the complex with other functional signs that decipher the plots meaning of various genres in cinema art of those years.