THE HISTORIOSOPHY OF GUY RITCHIE’S SHERLOCK HOLMES DYLOGY

Abstract

The purpose of the article. One of the most apparent tendencies of the contemporary culture is the fluidity of the borders between the art and science, the image and the theory. Sometimes the artists are the first to notice, or at least, to draw attention to some serious problem. In that way, Guy Ritchie’s film Sherlock Holmes and its sequel Sherlock Holmes: A Game of Shadows have a diagnostic quality, as they not only present the in-depth analysis of the late ХІХ – early ХХ century but warn the recipient about the dangers of the contemporary politics. Thus, the research aims to show how the form of the classical detective can be used to express the modern author’s view on the history of the major world problems and their current state. Methodology. The primary methods are comparative, historical-logical, the archetypal analysis. The scientific novelty. For the first time, Guy Ritchie’s films are analyzed in the philosophical context. It is shown that they can be seen as the complete historiosophical research in the art form. Conclusion. Guy Ritchie shows two seemingly diametrally opposing but equally unacceptable ways of behavior. When openly practiced, they a qualified as criminal, but in their more covert form, they have a place on the margin of political forces. The first of them is right-wing, based on the strict hierarchy and rigid order, that establishes the dictatorial world-state, based on deception and fear. The second one is anarchic, or, at least, using the revolutionary rhetoric for its aims. The provocations, which may lead to the world war, are used to enrich a particular person who stays in a neutral country. Guy Ritchie’s films visualize the twin dangers that must be avoided, heightening the recipients’ awareness of the world problems.